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BOSTON
PUBLIC
LIBRARY
The
God of Vengeance
Drama in Three ABs
By SHOLOM ASH
Authorized Translation from the Yiddish
With Introduction and Notes
by Isaac Goldberg
Preface by Abraham Cahan
Editor of The Jewish Daily Forward
and Author of "The Rise of
David Levinsky"
BOSTON
THE STRATFORD CO., PUBLISHERS
M C M X V I I I
Copyright 1918
The STRATFORD CO., Publishers
Boston, Mass.
The Alpine Press, Boston, Mass., U. S. A.
Preface
By ABRAHAM CAHAN
Editor of the Jewish Daily Forward and author of
"Yehi;' "The White Terror and the Red/' "The
Rise of David Levinsky" etc.
THE birth of Yiddish literature in Russia and
the beginning of the gTeat Jewish exodus
from that country to America are two effects
of one and the same cause. The same anti-semitic
crusade that forced the Children of Israel to go be-
yond the seas in search of a safe home, aroused
them to a new sense of their racial self-respect and
to an unwonted interest in their native tongue.
Prior to the anti-Jewish riots of 1881 educated
Jews were wont to look upon their mother tongue
as a jargon beneath the dignity of cultured atten-
tion. Yiddish, more especially in its written form,
was the language of the untutored. People with
modem training spoke and wrote Russian. As for
the intellectual class of the Talmudic type, it would
carry on its correspondence and, indeed, write its
essays, verse and fiction, in the language of Isaiah.
One wrote Yiddish to one's mother, for the mothers
of those days were not apt to understand anything
else. For the rest, the tongue of the Jewish
masses was never taken seriously and the very no-
iii
PREFACE
tion of a literature in "sl gibberish that has not
even a grammar" would have seemed ludicrous.
Popular stories and songs were written in Yid-
dish long before the end of the nineteenth century,
but, barring certain exceptions, these were intended
exclusively for the most ignorant elements of the
populace, and were contemptuously described as
''servant-maid literature/' (As for Yiddish poetry,
it was almost wholly confined to the purposes of
the wedding bard.) The exceptions here mentioned
belong to the sixties and the seventies, when some
brilliant attempts were made in the direction of
literature in the better sense of the term by S. J.
Abramovitch. But Abramovitch 's stories were not
even regarded as vanguard swallows heralding the
approach of Spring. They aroused an amused sort
of admiration. Indeed, it required a peculiar in-
dependence of mind to read them at all, and while
they were greeted with patronizing applause, it was
a long time before they found imitators.
All this changed when the whip of legal discrimi-
nation and massacres produced the ''national
awakening" of the educated Jew. Thousands of
enlightened men and women then suddenly made
the discovery, as it were, that the speech of their
childhood was not a jargon, but a real language, —
that instead of being a wretched conglomeration of
uncouth words and phrases, it was rich in neglected
beauty and possessed a homely vigor full of artistic
possibilities. A stimulus was given to writing Yid-
dish "as the Gentiles do their mother tongues."
Abramovitch was hailed as "the father of Yiddish
iv
PREFACE
literature ' ' and his example was followed by a num-
ber of new writers, several of whom proved to be
men of extraordinary gifts.
The movement bears curious resemblance to that
of the present literary renaissance of Ireland.
Some truly marvelous results were soon achieved,
the list of writers produced by the new literature
including the names of men like Rabinovitch (Sho-
lom Aleikhem) and Peretz, whose tales were crowned
with immense popularity.
Sholom Ash belongs to a younger group of Yid-
dish story-tellers and now that Abramovitch, Rabin-
ovitch and Peretz are in their graves (they have
all died during the last two years) he is the most
popular living producer of Yiddish fiction.
His narratives and plays are alive with a spirit
of poetic realism, with a stronger leaning toward
the poetic than toward reality, perhaps, but always
throbbing with dramatic force and beauty. Sholom
Ash's passion for color and melody manifests it-
self as much in his rich, ravishing style as in the
picturesque images it evokes. The ''jargon of ser-
vant maids" becomes music in his hands.
His ''God of Vengeance," which is his strongest
play, is one of the best things he has written in any
form. Absorbingly interesting and instinct with
human sympathy, it mounts to a natural climax of
cataclysmal force and great spiritual beauty.
The theme, while thoroughly original and unique,
reflects the artistic traditions of the country in
which the author was bom and bred. It was a mat-
ter of course that the young literature of which he
PREFACE
is a conspicuous representative should shape itself
under the influence of the much older and richer
literary treasures of Slavic Russia and Poland. If
it was natural for the novel of countries like
France, Germany, Norway or Italy to fall under
the sway of Turgenev, Tolstoi, Dostoyevski, Chek-
hov and Gorki, how much more so was it for a
non-Russian fiction produced on Russian soil to seek
guidance, directly or indirectly, in the same source.
Human sympathy is the watchword. Pity for
and interest in the underdog — the soul of Russian
art — became, from the very outset, the underlying
principle of the new-bom Yiddish art. No human
being is so utterly brutalized as to possess not a
single spark worthy of the artist's sympathetic,
though ruthlessly impartial, attention, — this is the
basic rule of Yiddish letters.
Himself a creature of the gutter, Yekel Tchaftcho-
vitch, the central figure of ' ' The God of Vengeance, ' '
is stirred by the noblest ambition known to a father
in the world of orthodox Judaism. Imbedded in the
slime that fills Yekel 's soul is a jewel of sparkling
beauty. But the very income by which he seeks
to secure his daughter's spiritual splendor contains
the germs of her loathsome fall and of his own
crushing defeat.
The clash between Yekel 's revolting career and
his paternal idealism, and the catastrophe to which
it inevitably leads form one of the strongest and
most fascinating situations known to the modern
drama.
vi
PREFACE
I cannot conclude without a word of well-earned
praise for the English version of *'The God of
Vengeance." Dr. Isaac Goldberg's translation is
not only a thoroughly correct and felicitous equiva-
lent of the original, but a piece of art in itself.
New York City, April, 1918.
vu
Introduction
SHOLOM ASH is one of the cliief authors in con-
temporary Yiddish letters, — a literature at
present enjoying a renaissance that attests the
remarkable vitality of a people long oppressed in
intellectual no less than in economic domains, — a
literature that has much to teach America in the way
of fearlessness before the facts of life, frankness in
their interpretation and persistent idealism in face
of the most degrading and debasing environment.
Indeed, the conjunction of squalid surroundings,
sordid occupation and idealistic yearning to be met
so frequently in Jewish writers arises most natur-
ally from the peculiar conditions of much of the life
in ghettos the world over.
It is interesting to consider Ash's *'The God of
Vengeance" in connection with a play like ''Mrs.
Warren's Profession." To be sure, there is no
technical resemblance between the two dramas; nor,
despite an external similarity in backgrounds, is
there any real identity of purpose. Shaw's play is
essentially sociological, and is a drama of disillu-
sionment. Ash's piece glows with poetic realism
and recounts an individual tragedy not without sym-
bolic power. Yet the essentially (though not con-
ventionally) moral earnestness of both Shaw and Ash
brings the circles of their themes in a sense tangent
to each other.
Mrs. Warren cherishes no delusions about her
INTRODUCTION
dubious profession, — neither the delusion of that
sentimentalization of the prostitute which Dumas
helped so much to effect and which Augier strove to
combat, nor the delusion of the conser\^ative, con-
ventional horror before an institution for the per-
petuation of which conservatism and convention-
alism are much to blame. If Yekel and his wife (in
Ash's play) are not so enlightened as Mrs. Warren
in their views upon the traffic off which they live,
they are in their own crude way equally sincere in
beholding in it a business quite as legitimate as any
other. With the same inconsistency with which
Hindel implores Heaven for aid in achieving her
nefarious aims, after which she promises to be a
model wife and mother (See Act Two), Mrs. War-
ren at the end of Shaw's play swears by Heaven
that henceforth she will lead a life of evil.
In the case of Yekel and his wife, as in Mrs. War-
ren's, another touch of inconsistency is added by
the agreement that theirs is not the best of profes-
sions. Crofts, too, in the English play, discusses
the business with all the matter-of-f actness of Ash 's
Shloyme, yet considers himself a gentleman none
the less.
Rifkele, of course, is no Vivie. Ash's simple-
minded Jewish girl is a victim, not a rebel. Yet
in either case the daughter is lost to the parents,
and the power of money is of no avail to Avin the
child back. And just as Yekel, in his impotence,
blashphemously thrusts the Holy Scroll from his
household, so does Mrs. Warren, defeated in her at-
tempt to win back her daughter, cry ''From this
INTRODUCTION
time forth, so help me Heaven in my last hour, I'll
do wrong and nothing but wrong. And I'll prosper
on it." Perhaps, too, the retribution which in each
case is visited upon the parent arises from the fact
that both Mrs. Warren and Yekel have, in Vivie's
accusatory words, "lived one life and believed in
another. ' '
'*The God of Vengeance," despite conclusions too
easily drawn, is not a sex play. When Ash wishes
to deal with sex as sex he is not afraid to handle
the subject with all the poetry and power at his
command. Such a play as his "Jephthah's Daugh-
ter" treats the elemental urge of sex with daring,
beauty and Dionj'siac abandon. Here, too, a golden
symbolism wafts through the piece. Again, in his
powerful novel ''Mottke the Vagabond," Ash has
given us scenes from the underworld of Warsaw
that are unparalleled for unflinching truth to detail.
**The God of Vengeance," however, despite the
sordid environment in which the play takes place,
possesses a certain moral beauty, — a beauty much
dimmed, perhaps, by the repellant human beings
who are its carriers, but a beauty none the less.
Its symbolism and its poetry lift it far above the
brothel in which it takes place. And what a strong
conception is the Holy Scroll, itself one of the chief
characters, and how frightfully eloquent in the myste-
rious, religious power that the dramatist has woven
around it!*
*The Holy Scroll, the religious significance of which is
fully explained in the course of the play, is a parchment
manuscript containing the first five books of the Bible, to-
gether known as the Torah, or Law. (Pentateuch).
xi
INTRODUCTION
First produced by the famous director Max Rein-
hardt, at the Deutsches Theater, Berlin, in 1910,
Ash^s powerful play quickly made its way to the
chief stages of Europe. It has been played all over
Germany, Austria, Russia, Poland, Holland, Nor-
way, Sweden and Italy. In Italy it created a
marked impression during- the entire season of 1916.
**The God of Vengeance" has been translated into
Hebrew, German, Russian, Polish, Dutch, Swedish,
Norwegian, Italian and French.
Ash himself is yet a young man, having been born
near Warsaw, some thirty-seven years ago. He is
at present settled in New York, where pages flow in
rapid succession from his prolific pen. Among his
better known works are the following:
THE TOWN. A collection of sketches depicting
Yiddish life in the '^staedtil" of the Old World.
It was this work that brought him into prominence
at the age of twenty-four.
MERI and THE ROAD TO SELF. A pair of
novels forming a continuous whole, in which the
author, with a wealth of color and episode, depicts
the wanderings of Jewish souls in search of self-
realization. The background, mainly that of the
Russian revolution of 1905, shifts to various parts
of the globe. The books are rich in poetry and
movement, and have been referred to as the epic
of the Yiddish part in the revolution of 1905. Be-
sides this the love story of Men Rosenzweig and
Misha, and the figures of Rachel and Kovalski the
xii
INTRODUCTION
artist, lend to the novels all the charm that love can
add to adventure and beautiful language to both.
MOTTKE THE VAGABOND. (Translated into
English.) A powerful tale of life in the underworld
of Warsaw, and the career of a Yiddish ** cellar-
child." American critics have found Ash, in this
book, comparable in various respects to such authors
as Hugo, Dickens and Gorki.
THE SINNER. (Translated into English.) A
one-act symbolic play of intense power, which has
been likened for its atmosphere to certain of Maeter-
linck's dramas. The story, which deals with the
refusal of a Jewish grave to receive the corpse of a
man who has sinned by marrying out of the faith,
is developed with penetrating skill and impartial
outlook.
OUR FAITH. A full-length drama upon a theme
similar to that just touched upon. The author's re-
fusal to cater to orthodox views shows his artistic
independence.
SHORT STORIES. The best of the numerous
short stories that Ash has published in his various
collections attain a high degree of artistic excel-
lence. That same nervous prose as distinguishes
his longer pieces, that same linguistic iridescence, —
one might term it, — as he achieves in such remark-
able places as Chapter XIII (Part One) of ''Meri"
and Chapter XLI (Part Two) of ''The Road to
Self," are encountered often in his many shorter
tales.
xiii
INTRODUCTION
In his more notable work Ash glows with a spon-
taneous artistry. It is this part of Ash's work that
holds much pleasure in store for an increasing num-
ber of American readers who are awakening to the
beauties of Yiddish literature.
ISAAC GOLDBERG.
Roxbury, Mass., April, 1918.
XIV
Persons of the Drama
YEKEL TCHAFTCHOVITCH, familiarly
known as the ^' Uncle;'' the owner of a
hrothel.
SARAH, his ivife; formerly a prostitute.
RIFKELE, their daughter; a young girl of
about seventeen.
HINDEL, first girl of the hrothel; a girl of some
thirty odd years, hut much older in appear-
ance.
MANKE, second girl; rather young.
REIZEL, third girl.
BASHA, a country lass, recently arrived.
SHLOYME, a procurer; RindeVs hetrothed, a
handsome chap of twenty-six,
REB ALI, a matchmaker ; neighhor of the
''Uncle.''
REB YANKEV, a pious Scrihe.
A STRANGER, father of Rifkele's proposed
hushand.
A POOR WOMAN, blind in one eye.
Poor Men and Women of the neighborhood.
Time: The Present.
Place: One of the larger towns of a
Russian province.
ACT I
Scene: The '^Uncle's" private dwelling on
the ground floor of an old woode^i house. Be-
low, in the cellar, is the brothel. A flight of
rickety wooden stairs, whose creaking announces
the coming of all visitors, leads from the outside
into the home, which consists of a large room
with a low ceiling. The furniture is new, in the
cheap Warsaw style, and does not at all har-
monize with the old-fashioned structure. On
the wall hang pictures embroidered upon canvas,
depicting scenes from the Bible, such as ^'Adam
and Eve at the Tree of Knowledge,'' etc. These
are evidently a young girl's handiwork. At the
rear, the door leading to the outside. To the
right, a door leading to Rifkele's room.' * At
each side of this door, placed against the wall, a
bed piled high with bedding. To the left, two
low windows, hung with curtains and provided
with shutters that close from the inside* Before
the windows, pots of flowers; between, a cup-
board; at the side of one of the windows, a
bureau.
The finishing touches are being put to the
cleaning of the room. . . Evidently guests are ex-
pected. . . Extra tables and benches have been
placed ahout, laden with baskets of bread, cake,
fruit, etc.
An afternoon in early spring.
[2]
Act I
Sarah and Rifkele are discovered as the cur-
tain rises. Sarah is a tall, slender, prepossessing
woman. Her features have become coarsened,
yet they retain traces of her former beauty,
which has even now a tone of insolence. On her
head lies a wig, through which, from time to
time, shows a lock of her alluring hair. She is
dressed quite soberly, as befits a mother, yet a
vulgar display of jewels spoils this effect. Her
movements, too, reveal that she is not quite lib-
erated from the influences of the world out of
which she has risen.
Rifkele is a fascinating girl, dressed very
neatly and modestly; still in short dresses, with
two long braids hanging across her shoulders.
She is busy decorating the room.
Rifkele, as she pins some paper flowers to
the curtain.
There! That's the way, mamma dear. And
now to decorate the mirror. See, mamma dear.
Won't this be pretty?
Sarah, busy arranging the table.
Hurry, daughter dear, hurry. Your father
has already gone to ask the guests to bring the
Holy Scroll home.
[3]
j THE GOD OF VENGEANCE
KlFKELE
Won't that be lovely! We'll have a house
full of people. . . There'll be playing and sing-
ing. . . Yes, mamma dear?
Sarah
Yes, my darling. It's a sacred event, — a
great merit in the eyes of God. . . Not everyone
can have a Holy Scroll written. Only a man of
dignity, a person of standing.
RrlFKELE
And will there be girls, too? And dancing?
Eeally, mamma dear? (Suddenly.) I'll have to
buy myself a waist, ma. And a pair of white
slippers. (Sticking out her shoes.) You can't
dance in shoes, can you?
Sarah
When you'll be engaged, in God's good time.
Next Passover I'll make you a long dress and
buy you slippers. Girls will come, fine young
ladies, respectable ones. And you'll chum with
them.
RiFKELE, stubbornly.
You're always putting things off until Pass-
over. I'm a grown-up girl already. (Looking
into the mirror.) See, ma. I'm a big girl.
(Showing her hair.) And just see how long my
braids are. Why, Manke tells me. . . (Inter-
[4]
THE GOD OF VENGEANCE
rupting herself.) And Manke will be there, too,
won't she, mamma dear?
Sarah
No, my darling. Only nice, respectable girls.
For you are a respectable child, a decent Jewish
daughter. . .
RiFKELE
Why not, mamma dear? Manke sketched a
David's shield for me on the cover of the Holy
Scroll. . . I'm going to embroider it now in silk
thread, — a wreath of leaves and a garland of
flowers. You'll see how beautiful it'll be, ma.
{Points to the pictures on the wall.) A hundred
times prettier than these. . .
Sarah, with deep concern.
"Woe is me ! Don 't tell that to your father !
He'll scold and fly into a rage when he hears of
it.
RiFKELE
Why, mamma dear? It's for the Holy Scroll,
isn't it?
Sarah
Your father will rave! (Footsteps are heard.)
Hush, Rifkele, father is coming.
Yekel, still without.
What? Do they think I'll get down on my
knees and beg them? Not on their lives! (En-
[5]
THE GOD OF VENGEANCE
ters. He is a tall, strong man of about forty,
stout; swarthy countenance, covered ivith dark
hair; his Mack heard cut round. He speaks in
loud, gruff tones, at the same time making coarse
gestures and grasping the lapel of the man
whom he happens to he addressing. Despite
this, his face and person heam with a certain
frank geniality.) So they won't come! They
don't have to! ... So I got together some poor
folks. . . Don't you worry. . . We'll have plenty
of customers for our honey-cakes and our geese.
{Noticing Rifkele, he sits doicn.) Come here,
my little Rifkele, come to papa.
Saeah, angered, hut trying to conceal her feel-
ings, continues to set the tahle.
Do they think they'll soil their pedigree by
coming to you ? And when they need to borrow
a hundred-rouble note. . . or take a charity con-
tribution. . . they're not at all ashamed of your
company then. . . The Gentile is impure, but
his money's untainted.*
Yekel
She's afraid already. Something new to
worry about, eh? Never fear, it'll spoil noth-
ing of yours. . . {Calls Rifkele.) Well, well,
come to daddy, won't you?
■ The force of this in the original is increased by the use of
the terms 'trayf and 'kosher,' i. e., that which, accord-
ing to the Mosaic dietary laws, is unfit or fit to be eaten.
[6]
THE GOD OF VENGEANCE
RiFKELE, approaches her father very unwill-
ingly, in fear.
What does papa dear want?
Yekel
Don't be afraid, Rifkele, I won't hurt you.
{Takes her hand.) You like your father, don't
you?
Rifkele
Nods "yes.''
Yekel
Then why are you afraid of him?
Rifkele
I don't know.
Yekel
Don't be afraid of papa. He loves you.
Very, very much. Today I'm having a Holy
Scroll written. It costs a good deal of money.
All for you, my child, all for you. {Rifkele is
silent. Pause.) And with God's help, when you
are betrothed, I'll buy your sweetheart a gold
watch and chain — the chain will weigh half a
pound. . . Papa loves you very dearly. {Rifkele
is silent. She lowers her head bashfully.
Pause.y Don't be ashamed. There's nothing
wrong about being engaged. God has ordained
it. {Pause.) That's nothing. Every^bcdy gets
engaged and married. {Rifkele is silent.
Pause.) Well, now. Do you love daddy?
[7]
THE GOD OF VENGEANCE
RiFKELE, nodding, and speaking softly.
Yes.
Yekel
Well, then. What do you want me to buy
you? Tell me, Rifkele. {She makes no reply.)
Tell me, now. Don't be afraid. Your daddy
loves you. Tell me, like a good little girlie.
What shall I buy you? {Rifkele is silent.)
Sarah, busy at the table, to Rifkele,
Well, why don't you answer when your father
speaks to you?
Rifkele
I don't know. . .
Sarah, to Yekel,
She wants a silk waist and a pair of white
slippers.
Yekel
Is that it? A silk waist and a pair of white
slippers ? Eh ?
Rifkele
Nods ''yes,''
Yekel
You certainly deserve them. {From his
pockets, which jingle with coins, he takes out a
gold-piece and offers it to Rifkele.) Here, give
this to mamma. And let her buy them for you.
[8]
THE GOD OF VENGEANCE
{Rifkele takes the money and hands it to her
mother. On the stairs outside is heard the
noise of tJie poor folk whom Yekel has invited.
Yekel turns to Sarah.) See? You said (He
opens the door.) that you would have no ^ests.
(Calls.) Now then. Come in. Come in. (En-
ter a crowd of poor people, men and women, at
first singly, as if they were stealing in; then more
boldly, in groups. All greet Yekel, some of
them ironically.)
People in the Crowd
Good day to you, host! (To Sarah.) Good
day to you, hostess.
Sarah
Puts on an apron, places in it loaves of white
bread, rolls, honey-cakes and so forth, and dis-
tributes them among the guests.
One op the Poor Men
Long life to you, hostess, and may you live
to celebrate joyous events beyond number.
A Woman
May the Holy Scroll bring good fortune and
be a blessing to your home.
Yekel, throiving slices of white bread to the
poor people. To Sarah.
Give them a whole pound of cake apiece. And
a bottle of brandy to take home with them.
[9]
THE GOD OF VENGEANCE
Let them know that I'm celebrating today. . .
Never mind. I can well afford it.
A Woman, Blind in One Eye, praising Yekel
and Sarah before her poor neighbors.
This is a house for you, such luck may I have.
Nobody ever leaves this place empty-handed.
There's always a plate of soup for the sick, a
shirt for a poor fellow. What then? Do you
think you can get anything over there where
the proud purses live?* {Sarah, as if not hear-
ing the woman's words, throws into the apron of
the latter a few more portions of food. The
old woman holds up her apron and continues
to talk.) Whenever there's a celebration here. . .
whoever you are. . . however humble your
trade. . .
Other Poor Folks, among themselves.
That's so. May we know such luck. . . May
such good fortune be ours! . .
Yekel, takes out a handful of small change
and casts it into Rifkele's apron.
Here, divide this among the poor folks. {Rif-
kele distributes the money.)
The Blind Woman, notv enthusiastic, pointing
to Rifkele.
And show me, in the whole town, another
girl as respectable as she! . . . {To the other
women.) Why, Eabbis haven't such virtuous
* Literally, 'under the high windows.'
[10]
THE GOD OF VENGEANCE
children! {More softly, yet loiid enough for
Yekel and Sarah to hear.) God alone knows
how such a pure child came to them. . . Imagine,
brought up in such a place, — may Heaven not
punish us for mentioning it. {Louder.) And
they guard her like the apple of their eye. . .
They weigh and measure every step she takes.
It's a delight to look at her. {Goes over to
Yekel.) Never mind. Everybody knows it.
{Pointing to Rifkele.) If I had a Rabbi for a
son, I'd choose her for his bride.
The Other Women, among themselves.
Everybody knows it. It's the talk of the
town.
Yekel
Just wait till I lead her under the wedding
canopy, in God's good time. You'll all get a
whole goose apiece, and a pickerel just out of
the water, and roubles galore. And if I lie,
then my name isn 't Yekel Tchaf tchovitch !
The Blind Woman
And I tell you, it's just as if she had been
brought up in a synagogue, — Heaven pardon
the word in this place. So pure and modest. . .
finer than any child of the most respectable
family.
The Other Women
Folks will learn all about it. It's the talk of
the town.
[11]
THE GOD OF VENGEANCE
Yekel, distributing glasses of brandy. Blurts
out, before he realizes what he is saying.
Even though her father is Yekel Tchaftcho-
vitch. . .
Sarah, giving out glasses.
Look at the people before whom he must
■>a st !
Yekel, pouring brandy into glasses. With pas-
sionate unrestraint.
It makes no difference to me, — poor or rich.
Let everybody know, — let the whole town
know. What 7 am, I am. {Points to his ivife.)
What she is, she is. . . It's all true, — every-
thing. But let them not breathe a word against
my daughter. . . And if anyone dares to do so,
I'll break his head with this bottle here. Even
if it's the Rabbi himself, it'll make no difference
to me ! . . . She 's purer than his own daughter.
(Pointing to his neck.) You may slash my
throat if that isn't so!
Sarah, stops passing around the brandy.
We've heard all that before. . . That's enough.
{Rubs her hands and goes to a corner for the
broom.) We must clean the room now for our
guests. {Turning to the poor folk.) You're not
offended, I hope?
The Poor People
Not at all, hostess. May happiness and joy
[12]
THE GOD OF VENGEANCE
be yours forever. . . {They leave the room singly ,
littering profuse blessings. Yekel, hehind his
wife's back, throws them more food. The last
tvoman speaks to Bifkele, loud e^iough for the
others to hear.) Go, Rifkele, and prepare the
robe for the Holy Scroll. Reb AH will soon
come, and the Scribe, too. {Rifkele goes into
her room.)
Sarah, sweeping the floor.
To think that he had to boast before such
people ! I tell you ! . . . And otherwise, do you
imagine, they wouldn't have come to you?
Make a celebration every day, and every day
you'll have them here. In respectable houses
people know how to act so that they'll be looked
up to. What do you think, — they're all like
you, with your "Hello, good brother!" right
away? What kind of host are you, anyway?
Yekel
Do you expect respectable folks to come to
your home? Have you forgotten who you are,
perhaps ?
Sarah
''Who you are!" What! Have you stolen
anything? You have a business. Everybody
has his own business. You don't compel any-
body, do you ? You may deal in what you please,
can't you, if you yourself do no wrong? . . . Just
try to give them some money, and see whether
they'll take it from you or not!
[131
THE GOD OF VENGEANCE
Yekel
They'll take it from you, all right, but they'll
look upon you as a dog, just the same. . . And
at the synagogue you'll have the back seat, and
they'll never call you up to the altar, to read
from the Holy Book.
Sarah
Do you really believe that they're any better
than you? You don't need their favors! . . .
That's the way of the world these days: if
you've got the money, even so pious a Jew as
Eeb Ali comes to your home, — a Pietist,*
mind you, — and accepts handsome alms from
you. He asks no questions, — whether you got
it by theft or by murder. So long as you have
the cash. That's the chief point!
Yekel
Don't climb too high, Sarah. Do you hear?
Not too high. . . For if you do, some fine day
you'll fall and break your neck. (Shakes a warn-
ing finger at her.) And don't try to break into
the upper crust. Don't, I tell you. You've a
home of your own, — stay there. You've got
bread, — eat. But don't intrude where you're
not wanted. . . Every dog must know his own
kennel. (Leaving the table, with a gesture of ap-
prehension.) The whole business is beginning to
* 'Khossid.' The 'Khassidim' are noted for the religious
frenzy of their worship.
[14]
THE GOD OF VENGEANCE
make me uneasy. . . I'm afraid that this will
bring the doAvnfall of our hopes. . .
Sarah, stops her tvorJc, placing her arms akimbo.
And you 're a man ! Shame yourself ! I 'm
only a woman, but I can say to myself, ''The
past is gone forever. ' ' Whiz ! Flown away ! . . .
There's nobody to be ashamed of. The whole
world isn't any better. Why, if it were, people
would have to go about with their heads bowed
to the earth. {Coyning nearer to him.) In a little
while you'll have money. You close up shop
and not a rooster crows. . . Who needs to know
what we were?
Yekel, meditatively.
That would be best. . . {Pause.) To buy a
pack of horses and smuggle them across the bor-
der, just like Eisikl Furman did. . . And become
a respectable person. . . not have people eye you
like a thief.
Sarah, considering the matter.
Just the same it's too bad to go out of our
business. . . You'll never make such good money
from your horses. Here, at least, it's all cash.
Yekel
That's certainly so.
Sarah, goes into the next room, returns with a
tray of plates and begins to arrange them upon
the table.
[15J
THE GOD OF VENGEANCE
And just see what a daughter we have. Thank
God, more decent than all the daughters of the
best families in town. She'll marry some highly
esteemed fellow, raise a respectable family. . .
Isn't that so? Then what's wrong?
Yekel, arising.
Yes, with an example like you as her guide.
Go, let Manke steal up to her from downstairs. . .
Have her here, in this room, all the time !
Sarah
Just see how he 's carrying on ! I once asked
Manke to teach Rifkele how to embroider on
canvas. Rifkele 's a young lady, you must re-
member. Has she any companions at all? You
don't let her step out into the street. . . (Pause.)
If you don't want her to have anything to do
with Manke, then she won't.
Yekel
No, I don't want her to! Do you hear? I
don't! I don't want my home to mix with
downstairs. (Points to the cellar.) My home
must be kept apart from that place ! Under-
stand? Just like pure and impure!* Below
(Indicating the cellar.) is a brothel, and here
lives a pure girl, worthy of marrying the best
of men. Do you hear ? (Bangs his fist upon the
table.) A pure, virtuous maiden lives here!
* Cf. previous note on 'trayf and 'kosher.'
[16]
THE GOD OF VENGEANCE
Keep the two places apart! . . . {Footsteps are
heard outside,)
Sarah
All right. Just as you say. Only don't make
such a racket. {Listening.) Hush. People are
coming. It's Reb Ali. {She thrusts her hair
hack underneath her wig and pulls off her apron.
Yekel strokes his heard and straightens his coat.
Both stand hij the door, expectantly. . . The
door opens wide. Enter Shloyme and Hindel.
The first is a tall, sturdy chap; wears long hoots
and a short coat. He is a knavish fellow, whose
eyes hlink with stealthy cunning as he speaks.
The second is a rather old girl, with a wan face
and wearing clothes much too young for her
years. Shloyme and Hindel are evidently at
ease and feel at home.)
Yekel, to Sarah.
Take a look at these guests of mine, will you ?
{To Shloyme.) I do no business here. Down
below. Everything down below. {Pointing to
the cellar.) I'll be down right away.
Shloyme
What's the hurry to get rid of us? Are you
already ashamed of our company?
Yekel
Well, what have you got to say for yourself?
[17]
THE GOD OF VENGEANCE
Shloyme
You're having a celebration today, aren't
you? So we came in to wish you good luck.
Old friends. . . eh, what?
Sarah
Look at our ''old friends," will you?
Yekel
That was all once upon a time. From today
on, — all over! You want to talk business
with me? All right. But everything down-
stairs. {Indicating the haseme7it.) Here I
don't know you, nor do you know me, — from
now on. You're welcome to a glass of brandy.
{Pours out brandy.) But be quick. Somebody
might come.
Shloyme, taking his glass, speaks to Hindely
roguishly.
You see? It's a great thing to get married.
You become a somebody, on a par with every-
body else. And you have Scrolls of the Law
written. Not like us chaps, us scamps. (To
Yekel.) Yes, and I've really taken an example
from you and have today become engaged to
this thing here. {Points to Hindel.) She'll
make a dandy housewife, eh ? You '11 see. She '11
put on a wig and she'll be the living image of a
Rabbi's wife. As true as we're alive. . .
[18]
THE GOD OF VENGEANCE
Yekel
May I always hear such good news! So!
You're engaged, are you? And when will the
wedding take place, — may it be with luck !
Sarah
Just see with whom he's stopped to talk! It
really becomes him ! With outcasts, God for-
give my words. Reb Ali and the Scribe will be
here at any moment!
Shloyme
When '11 the wedding take place, you ask?
When does one of our kind ever have a wedding ?
When we'll get a couple of girls we'll get mar-
ried and open a house of our own. What else
can one of us become? Certainly not a Rabbi.
But the girls must be something fine, — first
class. Fiery and hot-blooded. {Winking to
Yekel.) Otherwise it doesn't pay.
Yekel
And what do you want of me, I'd like to
know?
Shloyme
What do I want of you? A mere trifle.
(Points to Hindel.) She's your woman, isn't
she? And she's my sweetheart. She has a
claim upon you. (Takes from Hindel her wage-
hook.) From this day on you'll have to deal
[19]
THE GOD OF VENGEANCE
with me. Today I ask a mere bagatelle. Ten
roubles, on this book. {Slaps the hook.) It's
good money, safe money. (Looking at Hindel.)
She wants to buy herself a hat.
Yekel
All that downstairs. Down below. I'll be
down soon and we'll transact all business down
there. Here I don't even know you. Here I
do no business with you at all.
Shloyme
It's all the same to me. Above or below.
Downstairs live no strangers, nor upstairs
either. Same thing. The same devil.
Yekel
Get a move on ! Off with you ! Do you hear ?
— We're expecting people!
Sarah
May an evil night descend upon their heads,
their hands and their feet. They came here to
spoil our celebration. . . {Looks at Hindel with
scorn.) It pays to have so much vexation over
such a slut!
Hindel
If I'm not good enough to be one of your
women, go down into the cellar yourself.
Shloyme, to Hindel
Tell her to send her daughter down there. ( To
[20]
THE GOD OF VENGEANCE
Sarah.) Upon my word, you'd do a rushing
business.
Yekel
Curse me, — do you hear? {Points to Sa-
rah.) Curse her, too. We're your kind. But
don't dare to breathe my daughter's name.
Understand? {Coming closer to Shloyme.)
Don't dare to mention her name, or I'll rip
your bowels open. Do you hear? She doesn't
know you, and you don't know her!
Shloyme
Then I will know her. She's the daughter of
a fellow-tradesman, so we're quite closely re-
lated.
Yekel, seizing Shloyme hy the throat.
I'll rip your bowels open. . . You may slap my
face; kick me about, if you will, but don't men-
tion my daughter 's name ! ( Yekel and Shloyme
engage in a struggle,)
Sarah, running over to them.
A curse has been visited upon me ! There he
goes, starting a fight with such low-lives ! Some-
body's liable to come in at any moment, woe is
me. Yekel ! — Reb Ali and the Scribe. . . Yekel,
for God's sake! {Dragging him away from
Shloyme.) What's come over you? {Heavy
footsteps are heard outside.) Yekel, Yekel!
[21]
THE GOD OF VENGEANCE
Reb Ali is coming, — the Scribe is here ! This
is a shame and a disgrace before people!
Yekel
Let me go. Right on this spot I'll. . . {Tight-
ening his grasp upon Shloyme.)
Reb Ali's Voice
Right here, Scribe. This is the home of the
Scroll's donor. {Reh Ali appears in the door-
way, first thrusting in his large head, with a
pipe between his teeth.) What's all the noise
about ? In the home of one who has a Scroll of
the Law written, all must be joy and happiness.
Not quarrelling. (To the Scribe outside,) This
way, please. Scribe. {Yekel, at the sound of
Reb Ali's voice, releases Shloyme. Sarah runs
over to Shloyme and thrusts into his hand a
piece of paper money which she has taken from
her stocking. She shoves Hindel and Shloyme
toward the door; the latter two encounter the
Scribe and Reb Ali on the threshold. The pious
men stand back from the woman, making way
for her and Shloyme.)
Shloyme, to Hindel, as they leave.
Take a peek at the folks he's hob-nobbing with
these days. He'll become head of the town be-
fore long. {They go off, conversing in indistinct
tones.)
Reb Ali, a short, corpulent fellow, who speaks
[22]
THE GOD OF VENGEANCE
rapidly, making ingratiating gestures as he does
so. He appears to be much at home, and evi-
dently entertains a high opinion of himself.
I beg your pardon, Scribe; I beg your pardon.
{Quietly, to Yekel and Sarah.) You ought to
act more decently. It's high time. People are
coming and. . .
The Scribe, enters. A tall old man, whose long,
thin body is enveloped in a broad overcoat. His
beard is long, white and sparse. He wears spec-
tacles and has an air of cold aloofness and mys-
tery.
Reb Ali, pointing to Yekel.
This is the donor of the Scroll.
The Scribe, proffering his hand to Yekel, at
the same time surveying him.
Greetings. Peace be to you, fellow Jew.
Yekel, Thrusts out his hand, uncertainly.
Sarah reverently steps to one side.
Reb Ali, takes a seat at the table and pushes a
chair over toward the Scribe.
Be seated. Scribe. (To Yekel.) Take a seat.
(The Scribe sits down. Yekel, still uncertain,
sits doivn opposite him, next to Reb Ali. The
latter addresses the Scribe.) This is the gentle-
man on whose behalf I ordered the Holy Scroll.
{He helps himself to brandy, first pouring out
a glass for the Scribe.) He has no son, so he
[23]
THE GOD OF VENGEANCE
desires to do honor to the Lord with a Scroll
of the Law. Such is the custom among the
people of Israel, — and a very beautiful one,
too. So we must aid him. . . Your health.
Scribe. (Gives his hand to the Scribe, then to
Yekel.) Your health, host. Today you are the
Master of Festivities. {Yekel stretches out his
hand, at a loss. Reh Ali drinks, Sarah ap-
proaches the table and pushes toward Reh Ali
some jelly preserves. Yekel pulls her by the
sleeve and signals her to withdraw from the
table. Reb Ali, after drinking, turns to the
Scribe.) Drink, Scribe. (To Yekel.) Drink,
host. Today you must rejoice. God has favored
you with the means of having a Holy Scroll
written. It is a divine merit indeed. A very
great one.
The Scribe, holding his glass in his hand, to
Reb Ali, referring to Yekel.
Who is this man?
Reb Ali
What is the difference ? A Jew. . . And if he
isn 't a learned scholar, must all men be scholars ?
A Jew wants to earn a divine blessing. Then
we must befriend him. (To Yekel.) Drink a
health. Here's joy to you.
The Scribe
Will he know how to take care of the Holy
Scroll?
[24]
THE GOD OF VENGEANCE
Reb Ali
And why not? He is a Jew, isn't he? And
what Jew doesn't know the holy significance of
a Scroll? (Drinks.) Your health, your health.
And may the Lord send His blessings to His
people.
The Scribe, gives his hand to Yekel.
Your health, host. (Admonishing him.) And
know, that a Holy Scroll is a wondrous posses-
sion. The whole world rests upon a Scroll of the
Law, and every Scroll is the exact counterpart
of the tablets that were received by Moses upon
Mount Sinai. Every line of a Holy Scroll is
penned in purity and piety. . . Where dwells a
Scroll, in such a house dwells God himself. . . So
it must be guarded against every impurity. . .
Man, you must know that a Holy Scroll. . .
Yekel, aived; he stammers.
Rebbi, rebbi*. . . I want to tell the Rebbi the
whole truth, — the honest truth. . . I am a poor
sinner. . . Rebbi, I'm afraid. . .
Reb Ali, interrupting Yekel. To the Scribe.
The man is a sincere penitent and it is our
duty to befriend him. The Talmud counsels us
to. Of course he understands the significance of
* *Rebbi' is a term usually applied to teachers of Hebrew. It
is often interchanged with the more dignified 'Rabbi,'
which means, properly, a doctor of Hebrew law. The
term 'Reb' is a form of address used by Jews before
first names only. Cf. the Spanish 'Don.'
[25]
THE GOD OF VENGEANCE
a Holy Scroll. He's a Jew, after all. {To Yekel.)
You must have reverence for a Scroll of
the Law. Great reverence, — precisely as if a
noted Eabbi were under your roof. In the house
where it resides no profanity must be uttered.
It must dwell amidst purity. (Speaks to Sarah,
looking toward her hut not directly at her,)
Wherever a Holy Scroll is sheltered, there no
woman must remove the wig from her head. . .
(Sarah thrusts her hair more securely under
her wig.) Nor must she touch the Scroll with
her bare hands. As a reward, no evil overtakes
the home that shelters a Scroll. Such a home
will always be prosperous and guarded against
all misfortune. (To the Scribe.) What do you
imagine? — That he doesn't know all this?
They're Jews, after all. . . (Sarah nods affirm-
atively.)
The Scribe
You hear, sir, that the whole world rests upon
the Scroll. The fate of our race lies rolled up
in that parchment. With one word, — with a
single word, God forbid, you can desecrate the
Law and bring down upon all the Jews a griev-
ous misfortune, — God forbid.
Yekel, arising from the table.
Rebbi, I'll confess everything. . . Rebbi
(Comes nearer to Reb Ali.) I know that you
are a holy man. I am not worthy, Rebbi, of
your presence in this house. . . under my roof. . .
[26]
THE GOD OF VENGEANCE
Rebbi, I am a sinner. She {Pointing to his wife.)
is a sinner. We have no right to a Holy Scroll. . .
Inside that room. {Pointing to the door at the
right.) For her sake, Rebbi. . . {Goes into Rif-
hele's room and returns, leading her hy the
hand. She holds a velvet cover of a Scroll, upon
ivhich she is embroidering a David's shield in
gold thread.) Rebbi, she {Pointing to Rifkele.)
may go about a Holy Scroll. She is as pure as
the Lord's Law itself. It is for her that I or-
dered it. {Indicating her embroidery.) See,
Rebbi, she 's embroidering a cover for the Scroll.
She may, Rebbi, for her hands are pure. I,
Rebbi, {Striking himself over the heart.) I
promise not to touch your Holy Law. She
{Pointing to his wife.) will not touch your Holy
Scroll. She {Resting his hand upon Rifkele' s
head.) will carry it. It will be placed in her
room. {To Rifkele.) And when you are mar-
ried and leave my roof, take the Scroll of the
Law with you to your husband's home. . .
Reb Ali, to Yekel.
In other words, when you marry off your
daughter, you'll give her the Holy Scroll as her
dowry. Isn't that it?
Yekel
Reb Ali, when my daughter is married, I'll
give her as a dowry a pile of money, and I'll
say to her: ''Go out of your father's house and
forget. . . forget your father. . . forget your
[27]
THE GOD OF VENGEANCE
mother. . . and have pure children, Jewish child-
ren, just like every Jewish daughter." That's
what I'll say to her.
Reb Ali
That is, you will present the Holy Scroll as
a wedding-gift to your son-in-law. That's the
idea, isn't it? {To the Scribe.) Do you see,
Reb Aaron, there are still pious Jews in the
world ; here 's a man with a daughter, and has a
Scroll of the Law written for her future hus-
band. . . How beautiful that is, — how virtuous
... I tell you, Reb Aaron, that the spirit of Is-
rael, the Jewish spark. . . the. . . ahem. . . ah ! . .
ah! . . . (Smacking his lips.)
Yekel, leads Bifkele hack into her room. He
closes the door after her.
Rebbi, I can speak plainly to you. We're
alone. My wife may hear it, too. We are sin-
ners. I know, God will punish us. Let Him
punish. That doesn't bother me. Let Him crip-
ple me, disfigure me ; let Him make me a pauper,
so that I'll have to go begging from door to
door. . . Anything but that. . . (More softly.)
Rebbi, when a man has a son who goes to the
bad — the devil take him. But a daughter,
Rebbi. If a daughter falls, it is as if the mother
had sinned in her grave. So I went to the holy
synagogue and approached this man (Pointing
to Beh Ali.) and I said to him: "Give me some-
[28]
THE GOD OF VENGEANCE
thing that'll guard my home from evil.". . . So
he said to me : " Have a Holy Scroll written and
place it in your home." Rebbi, as for us, our
souls belong to the devil anyway. . . For her,
and in her room I '11 place the Scroll ; for her to
have as a companion. As for us, we dare not,
we must not. . . (Beb Ali bends over to the
Scribe, whispers something to him, making var-
ious gestures and pointing to Yekel. The latter
and Sarah stand at the table in tense expectancy.
Pause.)
The Scribe, after brief consideration.
And where are the guests in honor of the
Holy Scroll?
Reb Ali
We'll go to the synagogue and gather a quo-
rum* of Jews. It will be easy enough to find
men who are willing to honor the Law. (Arises
from the table, pours brandy into the glasses,
slapping Yekel on the shoulder.) There, there!
God will help you! Rejoice, host! The Lord
befriends the sincere penitent. . . Don't worry.
You'll marry your girl to some proficient schol-
ar; you'll take some poor Yeshiva** student for
a son-in-law, and support him while he sits and
studies the Holy Law. And the blessings of the
Law will win you the Lord's forgiveness.
* 'Minyan'. The quorum of ten males above the age of
thirteen required for all religious services.
** 'Yeshiva'. An academy of Hebrew studies.
[29]
THE GOD OF VENGEANCE
(Pause.) I've really been thinking about it,
and have a certain fellow in view, — a jewel of
a chap, — smart head on his shoulders. . . his
father is a highly respected man. {Abruptly.)
Are you going to give your daughter a large
dowry?
Yekel
Rebbi, take away all I own. I'll let you strip
me bare. . . Take everything, everything. . . And
I '11 say to my girl, ' ' Forget your mother. . . for-
get your father." And I'll send her and her
husband all they need, in a roundabout way.
'' Here's your food and drink, keep on studying
in your holy books. . . I don't know yoa. . . you
don't know me. . ."
Reb Ali
Everything will be all right, in the virtue of
the Scroll. . . Come, Scribe. Come, host, let's
be off to the synagogue. We'll hunt out a quo-
rum and celebrate the Holy Scroll. . . {To the
Scribe.) Do you see, Reb Aaron? A Jew, even
if he sins, stiU remains a Jew. A Jewish soul
— seeks a pious scholar for a son-in-law. . .
{To Yekel.) Never you mind. Don't worry.
God will help you. . . The Lord loves a repentant
sinner. But you must give generous donations
to the students of the Law. If you cannot study
the Law yourself, at least support those who
can, for the whole world rests upon the Holy
Law. . . {To the Scribe.) Is that not so, Reb
[30]
THE GOD OF VENGEANCE
Aaron? And why not? (Pointing to Yekel.)
I knew his father. . . He was a fine man. . . a
teamster. . . handsome chap. . . Believe me, the
Lord will come to his aid, and he will become a
Jew as worthy as any other. (To Yekel.) The
important thing is to repent deep in your heart,
— that is, you must abandon the path of iniquity
that you've followed hitherto. . . and you must
contribute liberally to the support of the stu-
dents of the Holy Word.
Yekel, summoning courage, he approaches Reh
Ali.
Just let me make a little more money, Reb
Ali, so that I can give my daughter a handsome
dowry, and my name isn't Yekel Tchaftchovitch
if I don 't go out of the business altogether. . I '11
deal in horses, just as my father did, may his
soul rest in peace. I'll get together a stable of
horses and go to the Lovitch fair. And my son-
in-law will be sitting inside there studying the
sacred Law. I'll come home for the Sabbath
and sit down right here and listen to him read-
ing from the Commentaries. And if I lie, my
name isn't Yekel.
Reb Ali
Don't worry. It's all right. The Lord will
come to your aid. Yes, God will help you.
Isn't that so, Reb Aaron?
[31]
THE GOD OF VENGEANCE
The Scribe
Who can tell? Our Lord is a God of mercy
and forgiveness, but He is also a God of retri-
bution and vengeance. (Leaving.) Well, it's
getting late. Let's be off to the synagogue.
(Leaves,)
Yekel
What did the Rebbi say ?
Reb Ali
It's all right. Don't worry. God will help
you. . . He must help you. . . Come, come and
take your Holy Scroll home in rejoicing. (Atout
to depart. Yekel hesitates, undecided. Reh Ali
notices this.) What? You want to speak a few
words with your wife, — to tell her to prepare
for our return with the Scroll?
Sarah, to Reb Ali.
Everything's ready, Reb Ali. Everything.
Reb Ali
Well, what are you waiting for? The Scribe
has already gone.
Yekel, at the door, uncertain, pointing to him-
self.
I, walk together with the Rebbi, through the
streets ?
[32]
THE GOD OF VENGEANCE
Reb Ali
Come, come. If the Lord pardons you, surely
we may do so, too.
Yekel, enthusiastically.
Reb Ali, you're a good Rebbi. (About to em-
brace Reb Ali; suddenly recalls himself and
draws back.) A good Rebbi, may I live so ! (Reb
Ali and Yekel leave together. The evening
shadows gather.)
Sarah, betakes herself assiduously to cleaning
the room and setting the table. Calls into Rif-
kele's room.
Rifkele, Rifkele, come in and help me out a
bit. They'll soon be coming with the Holy
ScroU.
Rifkele, appears on the threshold of her door,
uncertain.
Has father left already?
Sarah
Yes. He went to the sjmagogue with Reb All
and the Scribe. The Rabbi will soon be coming,
and other guests, too.
RiFKEiiE, showing the cover for the Holy Scroll.
See how nicely I've embroidered it.
Sarah
Yes, yes. I see. But comb your hair. Dress
[33]
THE GOD OF VENGEANCE
yourself. The guests will soon be here. The
Rabbi and. . .
RiFKELE
I '11 call up Manke and have her comb me. . . I
love to have her comb me. She does it so beauti-
fully. Makes my hair so smooth. . . And her
hands are so cool. {Takes something and taps
the floor with it, calling.) Manke! Manke!
Sarah, frightened.
Rifkele! What are you doing ? Don't! Your
father will be furious! It isn't becoming for
you to chum with Manke. You're already a
marriageable young lady, a virtuous child. And
we 've just been talking about some good matches
for you, — excellent matches with learned schol-
ars. . .
Rifkele
But I do love Manke so much!
Sarah
It's a shame for you to chum with Manke, I
tell you! You are a decent girl; you'll have
clean, respectable girls to go around with. . .
We're arranging a match for you, an excellent
match. Your father's just gone to see the bride-
groom, Reb Ali said, . . . (Goes into the next
room,) We must wash, dress, and put on our
best clothes. . . The guests will be here at any
moment.
[34]
THE GOD OF VENGEANCE
RiFKELE
A bridegroom? What kind of bridegroom,
mamma dear?
Sarah, from the other room.
A sweetheart, — a golden one. A wonderful
student, of a fine family.
Manke
Appears in the doorway at the rear. First
she thrusts in her head, shaking her finger play-
fully at Rifkele; Bifkele goes over to her, walk-
ing cautioicsly backwards, beckoning to her as
she does so. The room is fast growing dark.
Rifkele, falls into Manke' s arms. To her
mother.
A handsome sweetheart, mamma dear?
{Manke kisses her passionately.)
Sarah, from within.
Yes, daughter dear. A handsome sweetheart,
with two jet-black temple-locks and a satin coat,
and a velvet skull-cap, dressed just like a Rabbi.
He's a Rabbi's son, Reb Ali said.
Rifkele, in Manke' s embrace, caressing Manke' s
cheeks.
And where will he stay, mamma dear?
Sarah, from within.
There in your room, where the Sacred Scroll
[35]
THE GOD OF VENGEANCE
will be kept. He'll live there with you and
study the Holy Law.
RrPKELE, in Manke's arms.
And will he love me, mamma dear?
Sarah, as before.
Ever so much, daughter dear, ever so much.
And you'll have pure, respectable children, vir-
tuous children. . .
SLOW CURTAIN
falling as they speak.
[36]
ACT II
Scene: In the cellar -hrothel. A spacious
hasement in an old building; low-arched ceil-
ing; high up on the wall, close to the ceiling,
two deep, narrow windows, hung with curtains.
On the sill, flower-pots. The rain is coming in
through the windows. A flight of stairs leads to
the door above, which is constructed like that of
the entrance to a cahin on board ship. Half of
the door is ajar, revealing the gloom of the
night. Rain drips down. In the background of
the cellar, several small compartments, separ-
ated from one another by thin partitions, and
screened by thick black curtains. One of the
curtains has been drawn aside; in the compart-
ment are seen a bed, a wash-stand, a mirror and
various toilet articles. A colored night-lamp
sheds a dim light over the tiny room. The fur-
niture of the cellar itself consists of several
lounges, a tahle, benches and card-tables; on the
walls, looking-glasses bedecked with gaudy orna-
ments; chromos representing women in sugges-
tive poses. . .
On one of the lounges sleeps Shloyme; his
long boots reach to a nearby bench. It is a
night in spring.
The room is lighted by a large hanging-lamp.
[38]
Act II
HiNDEL
Enters. Halts for a moment upon the top
stair and looks down at Shlayme, She is
wrapped in a thin shawl, coquettishly dressed in
a slcirt much too short for her age. Descends
into the cellar, stepping noisily so as to wake
Shloyme.
Shloyme, awakes. Looks around.
It's you, is it? Why aren't you outside?
HiNDEL
It's begun to rain.
Shloyme, sitting up.
So you deign to answer me, milady? Have
you, then, forgiven me?
HiNDEL
I wasn't angry in the first place.
Shloyme
So. . . "Well, if you wish, you can get angry
again, for all I care. {Lies down.)
HiNDEL, looks around. Runs over to one of the
screened compartments and listens, then runs
hack to Shloyme.
Shloyme, I don't want to leave this place.
[39]
THE GOD OF VENGEANCE
See, now we're all alone and nobody can hear us.
Tell me, as truly as there is a God in heaven, —
tell me, do you really mean to marry me ?
Shloyme
Go, my grand dame. Make knots in your shirt
and hide your money there, and then run to
''Uncle" Yekel and complain that I take all
your earnings, — that you haven't even enough
to buy yourself a hat. . .
HiNDEL
Yes, I did tell him that. It made me furious
and cut me to the quick, — to have you tear the
very clothes off my back and then go and make
eyes at that yellow bitch. . . I '11 dash vitriol into
her face. Why, her breath smells terribly. How
can anybody get near such a thing? A fine
young lady he's hunted out!
Shloyme
Away from me! I'll give you such a crack
between the eyes that you'll see your great-
great-granny's ghost!
HiNDEL
Crack away ! Tear strips of skin off my body
. . . (Pushing up one of her sleeves and showing
him her arm.) You've covered me with black
and blue marks. {Baring her other arm.) Here,
pinch, slash, whatever you will. But tell me,
here on this very spot, by the memory of your
[40]
THE GOD OF VENGEANCE
father and as truly as you pray for the repose
of his soul, — will you really marry me?
Shloyme, still stretched out.
Once I wanted to. Now I don't.
HiNDEL
Then it's no. That's the way I like to do
things. Only no deceit. Do you want money?
— Say the word. A coat? — Here's the price.
Only no fooling me. (Walks off.)
Shloyme
That's all right. There are plenty of sweet-
hearts. You'll catch your fish, all right.
HiNDEL, drawing aside the curtain of her com-
partment.
Don't give yourself any worry on my account.
Shloyme
You object, do you? Have it your way.
(Pause.) But you're not too angry to pour a
fellow a glass of tea, are you?
Hindel, fetches him a glass of tea from her
compartment and places it upon the cellar table.
She then returns to her place and sits down he-
fore her trunk of clothes, as if looking for some-
thing. After a brief silence she addresses
Shloyme, from her compartment.
So you like her, eh?. . . Well, well. . . You'll
soon be busy, all right, — buying towels to pad
[41]
THE GOD OF VENGEANCE
out her flat bosom, paying dentists for putting a
set of teeth into her jaws, and getting her a
pair of stilts to make her look human size.
Then you can hire a barrel-organ and take her
around people's backyards. A fine hurdy-gur-
dyman you'd make, upon my word. I'll throw
you a two-kopeck-piece from the window, I
promise.
Shlotme
Hold your tongue, I tell you!
HiNDEL
And what '11 you do if I don't?
Shloyme
I'll beat you black and blue.
HiNDEL
Ho, ho! There's no beating folks these days.
Nowadays a beating is answered with a knife.
Shloyme, springing to his feet.
And who'll do that? {Striding into HindeVs
compartment.) Who'll do the knifing, eh?
(Ee struggles with her, tearing from her grasp
a red waist. He returns to the cellar.) Now
we'll see. {He rips the waist open eagerly. A
photograph falls to the floor,) Aha! Moyshe
the locksmith! So that's your champion, is it?
And since when have you become so thick with
him? {Goes hack to her room.)
[42]
THE GOD OF VENGEANCE
HiNDEL
What business is that of yours?
Shloyme
This is what business it is of mine! {He
gives her a hard slap; she falls upon her bed
and begins to weep.) So you're going around
with Moyshe the locksmith, are you? Exchang-
ing photographs, eh? A regular pair of sweet-
hearts! And all behind my back? {Silence.
He returns to his table.) And I knew nothing
about it. . . {Drinks more tea, arises, and mounts
the stairs.) And I knew nothing about it. . .
{He stops at the door.) Hindel! {She does
not answer.) Hindel! Come here this instant!
{No reply.) Hindel! {He stamps his foot,
then runs down the flight of stairs in a rage.)
Come here, I tell you ! Do you hear what I say !
Hindel
Arises from her bed and walks over to him,
hiding her face in her handkerchief.
Shloyme
Have you spoken to Manke?
Hindel, whimpering.
Yes.
Shloyme
Well, what does she say?
[43]
THE GOD OF VENGEANCE
HiNDEL, still crying.
If we'll have our own "house," she'll come
to us.
Shloyme
Sure?
HiNDEL, drying her eyes.
Yes. But she doesn't want to come alone.
She wants to bring a chum.
Shloyme
Certainly. Do you imagine you can make any
money on one girl, — even enough to pay the
rent?
HiNDEL
We ought to have a fresh young girl. . .
Shloyme
Upon my soul ! Then we 'd do business ! But
where can we get her?
HiNDEL
I've got my eye on one — as beautiful as the
day,* and still untouched.
Shloyme, curious.
Can we get her for the business?
HiNDEL
I should say! . . .
* Literally 'as beautiful as a tree.'
[44J
THE GOD OF VENGEANCE
Shloyme
A girl. . . from a ''house"?
HiNDEL
No. A pure maiden.
Shloyme
How do you come to know her?
HiNDEL
She comes to Manke every night. . . Steals out
of her home. . . Nobody sees her. Something
seems to draw her here. . . she is so inquisitive. . .
RiFKELE, thrusting her tare head through the
window, Reckoning to Hindel.
Ps-s-s ! Is my father down there ?
HiNDEL, signalling hack.
No.
RiFKELE, disappears from the window.
Shloyme, eyeing Hindel closely.
She ! ' ' Uncle ' ' Yekel 's daughter ! A genuine
gold-mine !
Hindel
Hush ! She 's coming !
RiFKELE, slender and heautifid; dressed mod-
estly, and wrapped in a Mack shawl; steals
through the door, runs down the stairs with
tremhling caution. She speaks more with signs
than with words.
[45]
THE GOD OF VENGEANCE
Where is Manke? There? {Pointing to a
screened compartment.) There, with. . . t
HiNDEL
Nods ''yes.''
ElFKELE
Approaches the curtain of Manke' s room and
listens with passionate intentness, looking
around every other moment with palpitant ap-
prehension.
Shloyme, very softly, to Eindel.
Tomorrow we must go and take a look at that
house on Pivna Street.
HiNDEL
And when shall we be married?
Shloyme
First we've got to have a home.
HiNDEL
I wonder how much the Rabbi will ask for
performing the ceremony.
Shloyme
As long as there's enough left to buy some
furniture with. The place must make a decent
showing. (The door is suddenly hanged open
and Yekel hursts in.)
Yekel, his face still hetrays signs of his cun-
ning and of his youthful dissipation. He is
[46]
THE GOD OF VENGEANCE
dressed in dignified, orthodox fashion. Re-
moves his hat and shakes the rain from it.
A fine business! It has to rain! (Suddenly
noticing Rifkele, he explodes with rage.) What!
You here ! (Seizes her hy the collar and shakes
her, clinching his teeth.) What are you doing
here?
Rifkele, terrified, stammering.
Mam. . . Mamma told me. . . to. . . c-eall. . .
(Bursting into tears.) Papa, don't hit me!
Yekel
Your mother. . . your mother sent you. . .
here! (With a loud outcry.) Your mother!
(Dragging her upstairs.) She'll lead you to
ruin yet ! Something draws her to it ! . . . She
wants her daughter to be what the mother
was. . .
Rifkele, crying.
Papa, don't hit me!
Yekel
I'll teach you to mind your father! (Leads
her out. EifkeWs crying is heard from with-
out.)
Shloyme
There's a virtuous Yekel for you! It doesn't
become his dignity for his daughter to be a
brothel- woman. (Through the ceiling is heard a
noise of angry stamping, and the weeping of a
[47]
THE GOD OF VENGEANCE
woman.) He must be giving it to his wife now,
all right! Biff! Bang!
HiNDEL
He^s right. A mother should guard her
daughter well. . . Whatever you were, you were,
but once you marry and have a child, watch over
it. . . Just wait. If God should bless us with
children, I'll know how to bring them up. My
daughter will be as pure as a saint, with cheeks
as red as beets. . . I won't let an eye gaze upon
her. And she'll marry a respectable fellow,
with an orthodox wedding. . .
Shloyme, slapping her across the shoulders.
We'll see about that, all in due season. But
talk to Rifkele in the meantime. Work upon
her, I say. Othei'wise everything's lost.
HiNDEL
Don't you worry about my part. I'll know
how to go about it.
Shloyme
We'll see, then. (Silence.) If you land her,
bring her right to me. You know. . .
Yekel, enters, in anger.
It's time to close up. It's raining. In any
case no dog's going to stick his snout into this
place tonight. (With a sharp look at Shloyme.)
Enough, enough of this billing and cooing.
Time to close up. (Mounts the steps, opens the
[48]
THE GOD OF VENGEANCE
door and calls.) Reizel! To bed! Basha!
Time to go to sleep ! {From without are heard
girls' voices: ^^Soon. Right away!'')
HiNDEL
Points to Yekel and signals Shloyme to leave.
Shloyme
Goes up the steps. As he is about to go out he
comes face to face with Yekel. They eye each
other.
Yekel
Get a move on. Time to close up. You've
whispered secrets long enough.
Shloyme, thrusting his hands into his trousers
pocket. Looks sharply at Yekel.
Since when have you become such a respect-
able personage?
Yekel
Off with you, now. Get a move on. I'll tell
you later.
Shloyme
To the devil with you!
Hestdel, runs up the stairs to Shloyme.
Shloyme, go home, I tell you. Do you hear?
Go home!
Shloyme, leaving, with a defiant glance at
Yekel.
There's a fine lout for you!
[49]
THE GOD OF VENGEANCE
Yekel
As if I need him here ! . . . (Pointing to Hin-
del.) Here! You may take your old carcass
along with you and start a place of your own.
HiNDEL
People don't open places with old carcasses.
You merely lie down to rest with them. But
little dolls. . .
Yekel, calling into the entry.
Reizel! Basha! {Enter two girls, running.
Rain is dripping from their wet, filmy dresses
and from their unbr aided hair. They are in a
merry mood and speak with laughter. Yekel
leaves, slamming the door behind him.)
Basha, a stout girl, with red cheeks. Naive in
manner; she speaks with a harsh accent.
What a sweet odor the rain has! . . . {Shak-
ing raindrops off her clothes.) Just like the
apples at home drying, in the lofts. This is the
first May rain.
HiNDEL
Such a crazy idea: to stand in the rain. As
if they'll attract the whole world. . . Nobody 'd
ever show up in a downpour like this. . . ( Goes
into her compartment and sits down near her
trunk, packing various articles.)
Reizel, shaking off raindrops.
To the deuce with the whole lot of them. I
[50]
THE GOD OF VENGEANCE
paid my account the day before yesterday. . .
We were standing under the eaves, the rain is
so fragrant, . . It washes the whole winter off
your head. ( Goes over to Hindel. ) Just look. . .
{Showing her wet hair.) How fresh it is. . .
how sweet it smells. . .
Basha
At home, in my village, the first sorrel must
be sprouting. Yes, at the first May rain they
cook sorrel soup. . . And the goats must be graz-
ing in the meadows. . . And the rafts must be
floating on the stream. . . And Franek is getting
the Gentile girls together, and dancing with
them at the inn. . . And the women must surely
be baking cheese-cakes for the Feast of Weeks.*
(Silence.) Do you know what? I'm going to
buy myself a new summer tippet and go home
for the holidays. . . {Buns into her room, brings
out a large summer hat and a long veil; she
places the hat upon her wet hair and surveys
herself in the looking-glass.) Just see! If I'd
ever come home for the holidays rigged up in
this style, and promenade down to the station. . .
Goodness! They'd just burst with envy.
Wouldn 't they ? If only I weren 't afraid of my
father !
Reizel
Why? Would he hurt you?
* Pentecost.
[51]
THE GOD OF VENGEANCE
Basha
He'd kill me on the spot. He's on the hunt
for me with a crowbar. Once he caught me
dancing with Franek at the village tavern and
he gave me such a rap over the arm with a rod
{Showing her arm.) that I carry the mark to
this very day. I come from a fine family. My
father is a butcher. Talk about the fellows that
were after me ! . . . {In a low voice.) They tried
to make a match between me and Nottke the
meat-chopper. I've got his gold ring still.
{Indicating a ring upon her finger.) He gave
it to me at the Feast of Tabernacles.* Maybe
he wasn't wild to marry me, — but I didn't
care to.
Reizel
Why didn't you care to?
Basha
Because I didn't. . . He always smelled ox
meat. . . Ugh ! His name is Pshorik. Think of
marrying Pshorik and having a little Pshorik
every year! Ugh!
Reizel
And how is it any better for you here?
Basha
Here, at least, I'm a free person. I've got
my chest of finery, and dress swell. Better
clothes, upon my word, than the rich daughters
* Succoth.
[62]
THE GOD OF VENGEANCE
of my village. . . {Fetching from her compart-
ment a hrown dress.) When I go walking on
Marshalkovski street in this dress they all stare
at me. . . Fire and flame ! Mm ! If I could only
put in an appearance in my home town dressed
in this fashion, here 's how I 'd promenade to the
station. {Struts across the room like a lady of
fashion^ raising her skirt at the hack and as-
suming a cosmopolitan air.) They'd die of
jealousy, I tell you. . . They'd be stricken with
apoplexy on the spot. {Promenades about the
room playing the grand dame.)
Eeizel, straightens the folds of Bashaws dress in
the hack and adjusts her hat to a better angle.
That's the way! Now raise your head a bit
higher. . . Who needs to know that you were
ever in a place of this sort? You'll tell them
that you were with a big business house. A
Count has fallen in love with you. . .
HiNDEL, from her room, where she is still busy
with her chest of clothes.
And what's the matter with a place of this
sort, I'd like to know? Aren't we every bit as
good as the girls in the business houses, eh?
The whole world is like that nowadays; that's
what the world demands. In these days even
the daughters of the best families aren't any
better. This is our way of earning a living.
And believe me, when one of us gets married,
[53]
THE GOD OF VENGEANCE
she's more faithful to her husband than any of
the others. We know what a man is.
Basha, still strutting about the room.
Ah ! Do you imagine they wouldn 't recognize
me right away ? Their hearts would tell them. . .
You know, my mother died from the shock. . .
She couldn't live through it. . . To this day I
haven't visited her grave. . . {Suddenly comes
to a halt.) Sometimes she comes before me. . .
At night I see her in my dreams. She appears
to me in her shroud, covered with thorns and
briers, because of my sins. And she pulls me
by the hair.
Reizel
Oh, mother! And did you really see her?
How does she look, your dead mother? Is she
pale?
HiNDEL
Shut up, will you? Late at night they have
to start telling stories about the dead. No dead
people can come here. Our boss has a Holy
Scroll upstairs. . . {A sudden hush.) What's
wrong about our trade, I'd like to know? {She
leaves her little room and goes into the cellar.)
Wasn't our mistress in a house like this for fif-
teen years? Yet she married. And isn't she a
respectable God-fearing woman ? . . . Doesn 't she
observe all the laws that a Jewish daughter
must keep? . . . And isn't her Rifkele a pure
child? And isn't our boss a respectable man?
[54]
THE GOD OF VENGEANCE
Isn't he generous? Doesn't he give the biggest
donations to charity? . . . And he's had a Holy
Scroll written. . .
Reizel
But they say that you mustn't read from
such a Holy Scroll, and that the daughter of
such mothers become what the mothers them-
selves were. . . that something draws them on
like a magnet, and that the Evil Spirit drags
them down into the mire. . .
HiNDEL, frightened.
Who said so?
Reizel
An old fortune-teller, — a sorceress told it to
me. . . it's just as if such a daughter were in
the power of an enchantment. . .
HiNDEL
That 's a rotten lie ! . . . Where 's the old gypsy
who told you that ? . . . I 'd scratch her eyes out
for her ! There is a God in heaven, I say ! We
have a God in Heaven!
Manke, steals from her compartment into the
cellar. She is half-dressed, with a shawl thrown
over her. Her colored stockings are visible, and
her hair is in disorder. Her eyes sparkle with
wanton cunning. Her face is long, and inso-
lently pretty; she is quite young. A lock of hair
falls over her forehead. Her eyes hlink as she
[55]
THE GOD OF VENGEANCE
speaks, and her whole body quivers. She looks
about in surprise.
What? Nobody here?
Reizel, to Manke,
Is it you, Manke? A good thing you came.
{Pointing to Hindel.) She's almost made a
Rabbi's wife of me. Where have you left your
guest?
Manke
He fell asleep. So I stole out.
Reizel
Some generous land-owner, perhaps? Maybe
he'll stand for the drinks?
Manke
Bah! He's a fool. Third time he's come.
And he keeps asking me, who's my father, who's
my mother, — as if he intended to marry me. . .
Whenever he kisses me he hides his face in my
bosom, closes his eyes and smiles as if he were a
babe in his mother's arms. {Looks around. In
a low voice, to Hindel.) Hasn't Rifkele been
here yet?
Hindel, with a soft laugh.
She was here. . . and her father caught her. . .
and maybe he didn't raise a rumpus. . .
Manke
Good heavens! How long since?
[56]
THE GOD OF VENGEANCE
HiNDEL
Quite a while ago. . . He must be asleep by
now. {Softly.) She'll surely be down again
soon.
Reizel, to Manke, in a merry mood.
Come, Manke, let's go out into the street. It's
raining. The drops are like pearls. . . The first
May shower. Who's coming out with me for a
rain bath?
Manke, approaching the window.
It's raining. And what a thin drizzle. And
how sweet it smells. . . Let's go out.
Basha
At home when we have a shower like this the
gutters run over and flood the narrow lanes.
And we take off our shoes and stockings and
dance in the rain barefoot. . . Who's going to
take her shoes off? {Removes her shoes and
stockings.) Take off your shoes, Manke, and
let's dance in the rain!
Manke, removes her stockings and lets down
her hair.
There ! Now let the rain soak us from head to
foot. . . Standing in a May shower makes you
grow. Isn't that so?
Basha, runs over.
Come. Let's splash each other. . . Let's sprin-
kle handfuls of raindrops over each other. {She
[57]
THE GOD OF VENGEANCE
lets down her hair.) Let's drench our hair just
like the trees. . . Come!
HiNDEL
Wait. Wait. ''Uncle" isn't asleep yet. He
might hear us. {All listen, their ears directed
to the ceiling.)
Eeizel
Come along ! Can 't you hear him snoring ?
Manke
Wait. . . We'll tap softly for Rifkele. {Basha
and Beizel go out. . Manke takes a stick and taps
in a corner of the ceiling, very softly. From
outside comes the noise of the girls skipping
about in the water. They take handfuls of
raindrops and throw them in through the open
door, calling ^*Come out! Come out!")
Rifkele, thrusts her head through the window.
She is in her night clothes, covered by a light
shawl. She whispers cautiously.
Manke, Manke. Did you call me ?
Manke, takes a chair and places it under the
window; stands upon it and reaches to Bifkele's
hand. : ai
Yes, Rifkele. I called you. . . Come, we'll
stand in the May rain, splash water over each
other and grow taller. . .
[58]
THE GOD OF VENGEANCE
RiFKELE, from above.
Hush ! Speak more softly. I stole out of bed.
So that pa wouldn't hear. I'm afraid, — that
he'll beat me.
IVIanke
Don't be afraid of your father. He won't
wake up so soon. Come, let's rather stand in
the rain. I'll let your hair down. {She undoes
Rifkele's braids, reaching through the window
to do so.) There. And now I'll wash them for
you in the rain. Just like this.
RiFKELE
I have only a nightgown on. All night I lay
in bed waiting for my father to fall asleep, so
that I might steal out to you. I heard your
tapping and sneaked away. So softly, barefoot,
— so that my father shouldn't hear me.
Maxke, embraces her passianately.
Come, Rifkele, I'll wash your eyes in the
rainwater. The night is so beautiful, the rain
is so warm and the air is so full of delightful
fragrance. Come.
RiFKETjE
Hush. . . hush. . . I 'm afraid of my father. . -
He beat me. . . He locked the door. . . And hid
the key near the Holy Scroll. I lay awake all
night. . . I heard you call me. . . You called me
so softly. . . And something drew me so irresist-
ibly to you. . . and I stole the key from the
[59]
THE GOD OF VENGEANCE
Scroll. . . My heart pounded so wildly. . . so
wildly. . .
Manke
Wait, Rifkele, I'm coming right out to you.
{Jumps down from the chair and runs up the
stairs. ) I 'm coming out to you. Just a moment
and I'm with you. {She leaves. Rifkele disap-
pears from the window.)
HiNDEL, from the curtain of her compartment
she has been listening very intently to the con-
versation between Manke and Rifkele. She now
begins to pace up and down the cellar excitedly,
wrapt in thought and muttering to herself
very slowly.
With God's help, if I can only get both of
them, Rifkele and Manke, this very night. . . I '11
take them directly to Shloyme 's. . . And I '11 say
to him, "Here you are. . . Here's your bread
and butter. Now rent a place, marry me, and
become a respectable man as well as any other. ' '
{Stops abruptly. Raises her hands toward the
ceiling.) Father in Heaven, you are a Father
to all orphans. . . Mother in your grave, pray for
me. . . Let my troubles come to an end. Let me
at last be settled in my own home ! . . . {Pause.)
If God is only good to me, I'll have a Holy
Parchment written in His honor. . . And every
Sabbath I'll give three pounds of candles to
the House of Study. {A long pause. She is
lost in the contemplation of her future pros-
[60]
THE GOD OF VENGEANCE
pects,) Yes, he is a good God. . . a good God. . .
Father in Heaven. . . Mother, pray in my be-
half. . . don't be silent. . . pray for me. . . do
your very best for me. . . (She returns to her
compartment and begins hastily to pack her
things.) I can be ready, anyway. {A long
pause. The stage is empty. Soon Manke leads
in Rifkele. They are both wrapped in the same
wet shawl. . . Their hair is dripping wet. Large
drops of water fall from their clothes to the
floor. They are barefoot. . . Hindel, behind her
curtain, listens as before.)
Manke, speaks with restrained passion and love,
— softly, but with deep resonance.
Are you cold, Rifkele darling? Nestle close to
me. . . Ever so close. . . Warm yourself next to
me. So. Come, let's sit down here on the
lounge. (Leads Rifkele to a lounge; they sit
down.) Just like this. . . Now rest your face
snugly in my bosom. So. Just like that. And
let your body touch mine. . . It's so cool. . . as if
water were running between us. (Pause.) I
uncovered your breasts and washed them with
the rainwater that trickled down my arms.
Your breasts are so white and soft. And the
blood in them cools under the touch, just like
white snow, — like frozen water. . . and their
fragrance is like the grass on the meadows.
And I let down your hair so. . . (Buns her fin-
gers through RifkeWs hair.) And I held them
like this in the rain and washed them. How
[61]
THE GOD OF VENGEANCE
sweet they smell. . . Like the rain itself. .. {She
huries her face in Rifkele's hair.) Yes, I can
smell the scent of the May rain in them. . . So
light, so fine. . . And fresh. . . as the grass on
the meadows. . . as the apple on the bough. . . So.
Cool me, refresh me with your tresses. {She
washes her face in Rifkele^s hair.) Cool me, —
so. But wait. . . I'll comb you as if you were a
bride. . . a nice part and two long, black braids.
{Does so.) Do you want me to, Rifkele? Do
you?
Yes.
Rifkele, nodding.
Manke
You'll be the bride. . . a beautiful bride. . . It's
Sabbath eve and you are sitting with your papa
and mamma at the table. . . I — I am your
sweetheart. . . your bridegroom, and I've come
as your guest. Eh, Rifkele? Do you like that
game?
Yes, I do.
Rifkele, nodding.
Manke
"Wait, now; wait. Your father and mother
have gone to sleep. The sweethearts meet here
at the table. . . We are bashful. . . Eh ?
Rifkele, nodding.
Yes, Manke.
[62]
THE GOD OF VENGEANCE
Manke
Then we come closer to one another, for we
are bride and bridegroom, you and I. We em-
brace. {Places her arm around Bifkele.) Ever
so tightly. And kiss, very softly. Like this.
(Kisses Rifkele.) And we turn so red, — we're
so bashful. It's nice, Rifkele, isn't it?
Rifkele
Yes, Manke. . . Yes.
Manke, lowering her voice, and whispering into
Bifkele' s ear.
And then we go to sleep together. Nobody
sees, nobody hears. Only you and I. Like this.
(Clasps Bifkele tightly to herself.) Do you
want to sleep with me tonight like this? Eh?
Rifkele, looking al)out nervously,
I do. . . I do. . .
Manke, drawing Bifkele closer.
Come. . . Come. . .
Rifkele, softly.
I 'm afraid of my father. He '11 wake up and. .
Manke
Wait, Rifkele, wait a second. (Befiects for a
moment.) Do you want to go away from here
with me? We'll be together days and nights at
a time. Your father won't be there, nor your
mother. . . Nobody '11 scold you. . . or beat you. . .
[63]
THE GOD OF VENGEANCE
We'll be all by ourselves. . . For days at a
time. . . We'll be so happy. What do you say,
Rifkele?
RiFKELE, closing her eyes.
And my father won't know?
Manke
No. We'll run away this very night, — with
Hindel, to her house. . . She has a house with
Shloyme, she told me. You'll see how nice
everything will be. . . Young folks will be there
aplenty, — army officers. . . and we'll be to-
gether, all by ourselves, all day long. We'll
dress just like the officers and go horseback-rid-
ing. Come, Rifkele, — do you want to ?
Rifkele, tremhling with excitement.
And papa won't hear?
Manke
No, no. He won't hear. He's sleeping so
soundly. . . There, can't you hear him snoring?
. . . (Runs over to HindeUs compartment and
seizes Hindel hy the arm.) Have you got a
place ? Come ! Take us away at once !
Hindel, waking tvith a start.
Yes, yes. To Shloyme 's, right away! {She
throws a dress over Rifkele.) He'll find us a
place quickly enough.
Manke, hastily dressing Rifkele.
You'll see how nice everything '11 be. . . What
[64]
THE GOD OF VENGEANCE
a jolly time we'll have. (All dress, seizing what-
ever they happen to lay hands upon. Slowly
they ascend the steps. At the door they encoun-
ter Reizel ayid Basha who, drenched to the skin,
are just returning to the cellar. Beizel and
Basha look at the others in surprise.)
Eeizel and Basha, together.
What's this? Where are you going?
Manke
Hush! Don't make any noise. We're going
for some beer, — and lemonade. , . {Hindel,
Manke and Rifkele leave, followed by the
amazed glances of Reizel and Basha.)
Reizel
There's something suspicious about this that
I don't like.
Basha
Same here.
Reizel
Something's up. . . Good heavens!
Basha, stares at Reizel in fright.
What? You mean thatf
Reizel
It's none of our business. Let's put out the
lamp and go to sleep. We know nothing about
it. (Turns down the wick of the lamp. The
stage is bathed in gloom. The girls go to their
[65]
THE GOD OF VENGEANCE
respective compartments.) That fortune-teller
was certainly right, I tell you. She certainly
was right! . . . {She disappears. For a mo-
ment the stage is empty and in darkness.)
Basha, comes running ivildly from her room,
with a hysterical outcry. She is in night clothes.
Reizel, thrusting aside the curtain of her com-
partment.
What's the matter, Basha?
Basha
I'm afraid to go to sleep. I feel that the
ghost of my mother, with her thorns and her
briers, is hovering about my room.
Reizel
The Holy Scroll in the room above has been
defiled. We have no one to shield us now!
Basha
I'm afraid this is going to be a terrible night.
My heart's thumping. {Suddenly, from above,
a din is heard. There is a scraping of chairs
and tahles. The girls, eyes distended with fear,
listen intently. Soon there is the sound of some-
thing heavy falling ^own the outside stairs.)
Yekel, outside.
Rifkele, Rifkele ! Where are you ?
Reizel, to Basha.
Let's lie down in our beds and pretend we're
[66]
THE GOD OF VENGEANCE
fast asleep. . . We know nothing at all, remem-
ber! {Both go to their heds and feign deep
sleep.)
Yekel, rushes into the cellar^ a burning candle
in his hand. His hair is in disorder. Over his
nightshirt he has thrown a coat. He shouts
wildly.) Rifkele! Rifkele! Is Rifkele here?
(No reply. He tears the curtains of the com-
partments violently aside.) Rifkele! Where is
she? (Waking Reizel and Basha.) Where is
Rifkele! Rifkele! Where is she?
Reizel and Basha, ruhhing their eyes with their
sleeves, as if awakened from sound sleep.
What? ... We don't know.
Yekel
You don't know? . . . You don't know? . . .
(Rushes up the stairs, almost at a single hound.
Goes out. Pause. There is a sound outside of
something falling down the stairs. The door is
sicddenly hanged open and Yekel stumbles in,
dragging Sarah by the hair. Both are in night
attire. Yekel pulls Sarah doivnstairs by the
hair. Points to the cellar.) Where is your
daughter? Your daughter, — where is she?
(Basha and Reizel huddle close to the wall,
trembling with terror.)
QUICK CURTAIN
[67]
ACT III
Scene: Same as Act I. The cupboard and
the bureau have been knocked out of place.
Clothes and linen are strewn about the floor.
The door to Rifkele's room is open, and from
ivithin the light of a candle comes across the
stage. Sarah, her hair dishevelled and her
clothes in disarray, is going about the room
picking up the things that lie scattered about.
She packs them into a bundle, as if preparing
to leave, yet eventually puts most of the articles
back into their proper places.
It is early morning. Through the closed shut-
ters penetrates the gray light of coming day.
[70]
Act III
Sarah
Yekel! What's the matter with you, Yekel?
{Goes over to the door of Bifkele's room and
looks inside.) Why are you sitting there like
that? {Turns hack and continues to collect the
scattered things.) What a misfortune! He
wants to bring the whole house to ruin. {Re-
turns to Rifkele 's door. ) Yekel ! Why are you
so silent? What's come over you? {Turns
hack, tearfully.) Did you ever see? A person
sits down before the Holy Scroll and thinks and
thinks. What is there to think about? A mis-
fortune has befallen us. Go to the police, see
the captain. . . Seek out the man by hook or
crook. . . There is yet time. {Returns to the
door.) Why don't you say something? {She
sits down upon a hundle of clothes near the
door, huries her face in her hands and hegins to
iveep.) He sits there like a madman, staring at
the Holy Scroll and mumbling. He neither sees
nor hears. What on earth can have possessed
him? {Arises. To Yekel.) It makes no differ-
ence to me, — one place or another. If you
want me to leave, all right. I'll go. The devil
won't take me. . . I'LL earn my bread, all right,
wherever I may be. {Resumes her packing,
silently. Pause.)
[71] . .
THE GOD OF VENGEANCE
Yekel, enters from Bifkele's room. He is with-
out hat or coat; his hair is in disorder. His
eyes have a wild glare, and he speaks slowly,
with a subdued, hoarse voice,
I'll go. . . You'll go. . . Rifkele wiU go. . .
Everything and everybody will go. . . {Point-
ing to the hrothel.) Down into the cellar. . .
God won't have it otherwise. . .
Sarah
Yekel, what's possessed you? Have you gone
crazy? {Approaching him.) Consider what
you're doing. A misfortune has befallen us.
Agreed. To whom don't misfortunes happen?
Come. Let us hunt out Shloyme. We'll give
him two or three hundred roubles and let him
give us back our child. He '11 do it, all right. . .
"Well, what are you sitting there moping about?
What's the matter with you?
Yekel, in the same hoarse voice, as he paces
ah out the room.
It's all the same to me now. My soul is given
over to the devil. Nothing will help. It's no
use. God won't have it. . . {He stops before
the window and peers through an interstice of
the shutter.)
Sarah
God won't have it, you say? You've merely
talked yourself into that! It's you that won't
have it. Do you love your daughter ? Yekel !
[72]
THE GOD OF VENGEANCE
Yekel! {Dragging him away from the win-
doiv.) Wiiat's come over you? Act while there
is yet time ! He might take her off somewhere
while we're wasting time here. Let's be off to
him at once. Hindel must surely have taken
her to him. What are you standing there for?
{Abruptly.) I've sent for Reb Ali. We'll
hear what he has to say. {Pause. Yekel still
peers through the shutter spaces.) What are
you staring at there ? {Pause.) WTiy don't you
say something? Good heavens, its enough to
drive a woman insane ! {Turns away and hursts
into tears.)
Yekel, pacing about the room as before.
No more home. . . No more wife. . . no more
daughter. . . Down into the cellar. . . Back to
the brothel. . . We don't need any daughter now
. . . don't need her. . . She's become what her
mother was. . . God won't have it. . . Back to
the cellar. . . Down into the brothel !
Sarah
So you want to go back to the cellar? — Into
the cellar, then! Much I care! {Resumes her
packing.) He wants to ruin us completely.
What has come over the man? {For a moment
she is absorbed in reflection.) If you're going
to stand there like a lunatic, I'll get busy my-
self! {Takes off her diamond ear-rings.) I'll
go over to Shlo3rme's and give him my diamond
ear-rings. {From her bundle she draws out a
[73]
THE GOD OF VENGEANCE
golden chain.) And if he holds back, I'll add a
hundred rouble note. {She searches YeheVs
trousers pocket for his pockethook. He offers no
resistance.) Within fifteen minutes {Throwing
a shawl over her shoulders.) Rifkele will be
here. {As she leaves.) Shloyme will do that
for me. {Slams the door behind her.)
Yekel, walks about the room, his head bowed.
It's all the same to me now. . .The devil got
her, too. No more daughter. . . No more Holy
Scroll. . . Into the brothel with everything. . .
Back to the brothel. . . God won't have it. . .
{Long pause. Beizel appears at the door,
thrusting in her head. Steals into the room and
stops near the entrance. Yekel notices her, and
stares at her vacantly.)
Reizel, stammering.
I went for Reb Ali. Your wife sent me.
He'll be here soon.
Yekel, with the same empty stare.
The devil has won her, anyway. No use now.
Too late. God won't have it.
Reizel
She was such a nice girl. What a shame !
Yekel
Eyes her with amazement.
[74]
THE GOD OF VENGEANCE
Reizel, apologizing.
Your wife told me to wait here until she
came back.
Yekel
Don't be afraid. I haven't gone insane yet.
Not yet. God has punished me.
Reizel
Who could ever have expected such a thing?
She was such a pure child. Oh ! what a heart-
breaking pity ! As true as I live. . .
Reb Ali, enters, carrying a lantern.
What's happened, that you had to call me
before daybreak? {Going to the window and
peering through the shutter spaces.) It's al-
most time for the morning prayers.
Yekel, not looking at Reh Ali.
The Holy Scroll has been violated, Reb Ali.
Desecrated most foully.
Reb Ali, frightened.
What are you saying? God forbid, the whole
town will have to atone for the sin! What has
happened? Speak, man! Good Lord in Hea-
ven!
Yekel
Down into the brothel. . . {Pointing below.
Then to Reizel.) Down below, with the rest of
[75]
THE GOD OF VENGEANCE
them. Down into the brothel. No more Holy
ScroU.
Keb Ali
Man! What words are these! What's hap-
pened here? Speak!
Keizel, at the door. Reassuring Reh Ali.
No, Rebbi. Not the Holy Scroll. His daugh-
ter. . . Rifkele. The Holy Scroll is undefiled.
(Points to Rifkele's room.) Still in there.
Reb Ali, tvith a sigh of relief.
Blessed be His name. But are you sure that
the Scroll is undefiled?
Reizel
Yes, Rebbi.
Reb Ali, more calmly, spitting out.
Blessed be His Name. I feel easier on that
score. (To Yekel.) What made you talk such
nonsense? {To Reizel, without looking at her.)
Did she go away? Isn't she back yet? {To
Yekel.) Has anybody gone to look for her?
Yekel
My daughter is holier to me than a Holy
Scroll.
Reb Ali
Don't talk nonsense. Just keep quiet and
don't make any scenes. Has anybody gone yet
to look for her? To bring her back? Well?
[761
THE GOD OF VENGEANCE
What are you standing there for, instead of go-
ing after her ?
Eeizel
My mistress went to get her.
Reb Ali
Do they know where the girl went ?
Reizel
Yes. The mistress will soon fetch her home.
Reb Ali
Fine! Then what's all this commotion about?
The whole town will know all about it before
long. Such things should be kept dark. They're
not nice. If a prospective father-in-law ever
got wind of the story, her dowry would have
to be raised a couple of hundred roubles. . .
Yekel
It's all the same to me now. Let everybody
know. No more daughter. . . No more Holy
Scroll. . . Into the cellar. Into the brothel with
everything.
Reb Ali
Fie! You're out of your head altogether.
True, a misfortune has befallen you. May
Heaven watch over aU of us. Well? What?
Misfortunes happen to plenty of folks. The
Lord sends aid and things turn out all right.
The important point is to keep it a secret.
Hear nothing. See nothing. Just wash your
[77]
THE GOD OF VENGEANCE
hands clean of it and forget it. {To Reizel.)
Be careful what you say. Don't let it travel
any further, God forbid. Do you hear? ( Turns
to Yekel, who is staring vacantly into space.) I
had a talk with. . . (Looks around to see wheth-
er Reizel is still present. Seeing her, he stops.
After a pause he begins anew, more softly, look-
ing at Reizel as a hint for her to leave.) With
er, er. . . (Casts a significant glance at Reizel,
who at last understands, and leaves.) I had a
talk with the groom's father. I spoke to him be-
tween the afternoon and evening prayers, at
the synagogue. He's almost ready to talk busi-
ness. Of course I gave him to understand that
the bride doesn't boast a very high pedigree,
but I guess another hundred roubles will fix
that up, all right. Nowadays, pedigrees don't
count as much as they used to. With God's
help I'll surely be here this Sabbath, with the
groom's father. We'll go down to the Dayon*
and have him examine the young man in his
religious studies. . . But nobody must get wind
of this tale. It might spoil everything. The
father comes of a fine family and the son car-
ries a smart head on his shoulders. There, there.
Calm yourself. Trust in the Lord and every-
thing will turn out for the best. With God's
help I am going home to prepare for the morn-
ing prayer. And as soon as the girl returns,
notify me. Remember, now. (About to go.)
* Assistant to the Rabbi, and usually well versed in religious
law.
[78]
THE GOD OF VENGEANCE
Yekel, arises and grasps Beb Ali's arm.
Listen to me, Rebbi. Take your Holy Scroll
along with you. I don't need it any more.
Reb Ali, thunderstruck.
What are you talking about? What has pos-
sessed you? Have you gone stark mad?
Yekel
My daughter has gone to a brothel. The
Scroll has been desecrated. God has punished
me.
Reb Ali, trying to interrupt him.
What are you raving about?
Yekel
I am a woeful sinner. I know it well. He
should have broken my feet beneath me, — or
taken away my life in its prime. But what did
He want of my daughter? My poor, blameless
daughter ?
Reb Ali
Hear me. You mustn't talk like that against
the Lord.
Yekel, excited.
And why not ? I may speak everything. It 's
the truth. Yes, I am Yekel Tchaftchovitch, all
right. The ''Uncle" of a brothel. But the
truth I may speak even to God. I'm afraid no
longer. I went into the House of Study to you.
[793
THE GOD OF VENGEANCE
I told you everything. So you advised me to
have a Holy Scroll written. In there I placed
it, — in her room. I stood before it night
after night, and used to say to it, **You are
really a God. You know everything I do. You
will punish me. Very well. Punish me. Pun-
ish my wife. We have both sinned. But my
poor, innocent daughter. Guard her. Have pity
upon her!'*
Reb Ali
But no evil has befallen her. She will return.
She will yet make a fine pious Jewish wife.
Yekel
No use. . . The devil has won her. She'll be
drawn to it. Once she has made a beginning. . .
she'll not stop. . . If not today, tomorrow. The
devil has won her soul. I know. Yes, I know
only too well.
Reb Ali
Don't speak folly, I tell you. Calm yourself.
Pray fervently for the Lord's pardon. Give up
this business of yours. With God's help your
daughter will yet marry just like aU Jewish
women, and bring you plenty of happiness.
Yekel
Too late, Rebbi. Too late. If only she had
died in her childhood, I should have nothing to
complain about. . . Then I 'd know she was dead,
— that I had buried an innocent creature. . . I
would visit her grave and say to myself, ''Here
[80]
THE GOD OF VENGEANCE
lies your child. Even if you yourself are a
sinner, here lies a pure daughter of yours, a
virtuous child. ' ' But as it is, what is left me on
earth? I myself am a sinner. I leave behind
me sinful offspring. And so passes sin from
generation to generation.
Reb Ali
Don't speak like that. A Jew must not utter
such things. Trust in the Lord, and say ''The
past is dead and gone."
Yekel, interrupting.
Don't try to console me, Rebbi. I know that
it's too late. Sin encircles me and mine like a
rope around a person's neck. God wouldn't
have it. But I ask you, Rebbi, why wouldn't
He have it? What harm would it have done
Him if I, Yekel Tchaftchovitch, should have
been raised from the mire into which I have
fallen? {He goes into Rifkele's room, carries
out the Sacred Parchment, raises it aloft and
speaks.) You, Holy Scroll, I know, — you are
a great God ! For you are our Lord ! I, Yekel
Tchaftchovitch, have sinned. {Beats his hreast
with his closed fist.) My sins. . . my sins. . .
Work a miracle, — send down a pillar of fire to
consume me. On this very spot, where I now
stand ! Open up the earth at my feet and let it
swallow me! But shield my daughter. Send
her back to me as pure and innocent as when
she left. I know. . . to You everything is pos-
[81]
THE GOD OF VENGEANCE
sible. Work a miracle! For You are an al-
mighty God. And if You don't, then You're
no God at all, I tell j^ou. I, Yekel Tchaftchov-
itch, tell You that You are as vengeful as any
human being. . .
Reb Ali, jumps up and snatches the Parchment
from YeheVs grasp.
Do you realize whom you are talking to?
{Looks at him sternly , then takes the Scroll
hack to Rifkele's room.) Implore pardon of
the Holy Scroll!
Yekel
The truth may be spoken even before God's
very face! {Follows Beh Ali into Rifkele's
room.) If He's a true God, then let Him reveal
His miracle here on this very spot!
Sarah, runs in excitedly. Hastens over to the
mirror and begins to arrange her hair with her
hands. Calls.
Come in, Shloyme. Why do you remain out-
side?
Shloyme, from without.
Where is Yekel? Let him know {Comes in.)
that I'll do anything for one of our brotherhood.
Even if he did insult me.
Sarah, runs over to Rifkele's door. Locks it,
leaving Yekel and Reb Ali inside.
Let him stay there. {Smiling.) These last
[82]
THE GOD OF VENGEANCE
few days he's turned into a saint. . . Seeks the
company of pious Jews. (Runs over to the en-
trance door and locks it.) And what a bride
you have picked out! Such a pest your Hindel
is, I must say ! You can 't shake yourself rid of
her! She trails after you as if you already be-
longed to her. I'll wager she's tracked you to
this place, too! {With a wily smile.) Ah,
Shloyme, Shloyme, such goods you 've selected !
(She goes over to the window and opens the
shutters. The room grows lighter.) Why have
they closed up the place, anyway? As if in
mourning !
Shloyme
Don't worry, I tell you. Once I've said
''yes," I mean it. Whoever else I'd refuse, I'll
do it for you. Even if you have treated me
shabbily of late. . . Well, never mind. Hindel
may go to perdition for all it'll help her.
Sarah, glides over to him, seizes his hand and
looks straight into his eyes.
A fellow as young as you, — how can you
take such a scarecrow as Hindel? Who is she?
She's roamed around from one brothel to anoth-
er. Why, a young chap like you ! And you can
make a tidy bit now. Then what do you need
her for? With your couple of hundred roubles
why can't you catch some fine, respectable girl?
Why not? Aren't you as young and handsome
as any other, I'd like to know? {Slaps him
[83]
THE GOD OF VENGEANCE
across the shoulders.) You just listen to me,
Shloyme. You know I was never unkind to you,
even if I haven't been all I might have, lately.
But I've always been Sarah to you. Isn't that
so? (Looking him straight in the eyes.)
Shloyme, twirling his moustache.
The devil! Deuce knows! I let my head be
turned by the girl. . . Just for the time being. . .
to get a few roubles. . . Do you really think I
meant to marry her? My mother would have
cursed every bone in my body. I have a respec-
table mother. And my sister?
Sarah
Haven't you any better business prospects
than to tie yourself to such a fright and open a
place with her? Much there is in the business
these days, anyway. It doesn't pay to have to
do with outcasts of her type. (Comes close to
him and thrusts her ear-rings into his hand.)
Here, take these and here's another hundred
roubles. Now tell me where Rifkele is.
Shloyme
What's true is true. You were once a good
woman. (Winks at her.) Lately you've been
spoiled. But that's another matter. Just re-
member that Shloyme is one of your own crowd.
(Pockets her ear-rings.)
Sabah
And now tell me, Shloyme, where she is. You
[84]
THE GOD OF VENGEANCE
may tell me everything, even if I am her mother.
You know, such things don't affect me. Tell
me, — have you led her off somewhere to a. . . ?
Shloyme
She is very near. . . If I say I'll bring her
here, you may depend upon me. And listen, —
may I have such luck, what a prize she would
make ! Such eyes, such motions. And as clever
as they make 'em!
Sarah
Ha! Ha! There's life to Sarah yet. . . But
tell me, Shloyme, where have you put her? You
may speak freely to me. {Places an arm about
him and slaps him over the shoulder with the
other, looking into his eyes coquettishly.) Come,
tell me, good brother.
Shloyme
Not far from here. Not far. . . (A thumping
of fists is heard on the door leading to the out-
side.)
HiNDEL, from without,
You know nothing about her ! Nothing at all !
Sarah
Let her hammer her head against the wall.
Goodness me! How she holds him in her
clutches ! Ha, ha ! He dare not leave her for a
moment! {Making eyes at him.) Shame your-
self, to have affairs with trash like that!
{Shloyme meditates for a moment, Sarah
[85]
THE GOD OF VENGEANCE
seizes him by the arm and draws him aside.)
See here. What do you need her for? I'll get
a girl for you. A dream. You'll see. (Winks
at him.)
HiNDEL, forcing the door open, rushes in.
What are they pestering him about? Bad
dreams to them ! Their daughter runs away. . .
{Seizing Shloyme hy the hand.) He doesn't
know where she is. What do they want of you,
anyway ?
Sarah, sits down, glances teasingly at Shloyme
and points to Hindel.
So that's your style, eh? That thing there?
Ha, ha!
Hindel, looking around.
She laughs like an evil spirit ! {To Shloyme.)
You know nothing whatever about Rifkele.
{Takes him aside. Softly.) Let's be off to
Lodz at once. We'll marry there. . . Rent a
house. . . With two girls like these we can. . .
Consider what you're doing! {Aloud.) What
are they pestering you for? You know nothing
at all about her. {Pulling him out.) Come,
Shloyme. {He is undecided.)
Sarah, aloud, with a wily smile.
Well, why don't you go along with her,
Shloyme ? She 's come for you. . . to take you to
Lodz. . . to get married. . . and set up house.
Tee-hee! {Comes close to Shloyme and draws
[86]
THE GOD OF VENGEANCE
him away from Hindel.) A young chap like
you, with a respectable mother, — and your
father was a pious Jew. . . What does she want
of you? What is she pestering you for?
Shloyme, resolutely.
Come, Sarah. We'll get Rifkele.
Hindel, clapping her hand across his mouth.
You'll not tell. You know nothing about her.
(She runs over to the door, shuts it and stands
with her hack against it.) I won't let you go
out. {Runs over to Shloyme and seizes his
hand.) Remember, Shloyme. It's all right for
them. Then why not for usf Come, Shloyme.
We'll leave this place. . . And we'll do such a
business — such a flourishing business!
Shloyme
We've heard all that. . . we've heard it before.
{Thrusts her away.) We'll talk that over later.
I haven't any time now. {Goes out with Sarah,
followed by Hindel.)
Sarah, running hack. Opens Rifkele's door
and calls to the men inside.
Rifkele is here!
Hindel, from the entry.
I'll not let you. You won't tell!
Shloyme, in the doorway.
Come, Sarah.
[87]
THE GOD OF VENGEANCE
Sarah, runs after him.
I'm coming, Shloyme. {Sarah, Shloyme and
Hindel leave.)
Eeb Ali, enters, with Yekel.
Praised be the Lord! Praised be the Heav-
enly Father! {Following Yekel, who paces
ahout the room.) See how the Almighty,
blessed be His Name, has come to your aid ? He
punishes, — yes. But he sends the remedy be-
fore the disease. Despite your having sinned,
despite your having uttered blasphemy. {Ad-
monishi7ig him.) From now on see to it that
you never speak such words, — that you have
reverence, great reverence. . . Know what a
Holy Scroll is, and what a learned Jew is. . .
You must go to the synagogue, and you must
make a generous donation to the students of the
Law. You must fast in atonement, and the
Lord will forgive you. {Pause. Beh Ali looks
sternly at Yekel, who has continued to walk
about the room, absorbed in his thoughts.)
What? Aren't you listening to me? With the
aid of the Almighty everything will turn out
for the best. I'm going at once to the groom's
father and we'll discuss the whole matter in de-
tail. But be sure not to haggle. A hundred
roubles more or less, — remember who you are
and who he is. And what's more, see to it
that you settle the dowry right away and in-
dulge in no idle talk about the wedding. Hea-
ven forbid, — another misfortune might occur!
[88]
THE GOD OF VENGEANCE
Such matters should not be delayed. {Glares
angrily at Yekel.) What! You pay no atten-
tion? I'm talking to you!
Yekel, as if to himself.
One thing I want to ask her. One thing only.
But she must tell me the truth, — the whole
truth. Yes, or no.
Reb Ali
Don't sin, man. Thank the good Lord that
He has helped you.
Yekel, as he fore.
I'll not lay a finger upon her. Just let her
answer the truth. Yes, or no.
Reb Ali
The truth. The truth. Heaven will help you
. . . Everything will turn out for the best. I'm
going to the young man's father directly. He's
over at the synagogue and must surely be wait-
ing for me. (Looks around.) Tell your wife
to put the house in order in the meantime. And
you, prepare the contract, and at once, so that
he'll have no time to discover anything amiss
and withdraw. Arrange the wedding date and
have the bride go at once to her parents-in-law.
No idle chatter, remember. Keep silent, so that
nobody wiU learn anything about it. {Ready to
go.) And cast all this nonsense out of your
head. Trust in the Lord and rejoice in His
[89]
THE GOD OF VENGEANCE
comfort. (At the door.) Tell your wife to tidy
up the place. (Leaves.)
Yekel, strides nervously to and fro.
Let her only tell me the truth. The plain
truth. (A long silence.)
Sarah, on the threshold.
Come in. Come in. Your father won't beat
you. (Pause.) Go in, I tell you. (Pushes Rif-
kele into the room. Rifkele has a shawl over her
head. She stands silent and motionless at the
door, a shameless look in her eyes, biting her
lips,) Well, what are you standing there for,
my darling? Much pleasure you've brought us
... in return for our trouble in bringing you
up. We'll square that with you later. (Inter-
rupting herself.) Get into your room. Comb
your hair. Put on a dress. We're expecting
guests. (To Yekel.) I just met Reb Ali. He's
going for the groom's father. (Looks about the
room.) Goodness me! How the place looks!
(She begins hastily to place things in order.)
Yekel, seeing Rifkele, fastens his gaze upon
her, approaches her, takes her gently by the
hand and leads her to the table.
Don't be afraid. I'll not hurt you. (He sits
doivn.) Sit down here beside me. (Pushes a
chair toward her.) Sit down.
[90]
THE GOD OF VENGEANCE
RiFKELE, provoked, hides her face in her shawl.
I can stand just as well.
Yekel
Sit down. {He seats her.) Don't be afraid.
RiFKELE, from behind the shawl.
Why should I be afraid?
Yekel, speaks in a faltering voice.
Rifkele, tell me, Rifkele. You are my daugh-
ter I am your father. {Points to Sarah.)
She is your mother. Tell me, my daughter^
Tell me the whole truth. Don't be afraid ot
me Don't feel ashamed before me. I know, —
not for your sins. . .not for your sins. . . For my
sins, mine. . . For your mother's sins. . . our
sins. . . Tell me, daughter. . .
Sarah
Just look at the way he's sat down to cross
examine her ! What does he want of her ? The
moment she arrives! Let her go m and dress.
We'll soon be having company. {About to tane
Rifkele away.)
Yekel
Let her go, I say ! ( Thrusts Sarah away from
Rifkele.)
[91]
THE GOD OF VENGEANCE
Sarah
He's gone crazy today. What's possessed the
man? {Resumes her cleaning.)
Yekel, seating Rifkele beside him.
I'll not beat you. {Clutching her slender
throat with his fingers.) If I had only twisted
your neck for you, like this, before you ever
grew up, it would have been better for you, and
for me. . . But don't be afraid. I won't harm
you. It's not for your sins that God has pun-
ished us. No. It's for ours. I guarded you
like the apple of my eye. I had a Holy Scroll
written for you. I placed it in your room and
prayed to it for days and nights at a time.
' ' Shield my child from evil ! Visit your punish-
ment upon me! On her mother! But spare
my daughter!" You'd grow up, I planned, and
I'd make a fine match for you. I'd get you a
respectable young man for a husband. I 'd keep
you both here with me, at my expense. You
would both live. . .
Rifkele, still hidden behind her shawl.
There's plenty of time for me to marry. I'm
not so old.
Sarah
And she has the impudence to argue with
him!
[92]
THE GOD OF VENGEANCE
RiFKELE
They want to turn me into a Rabbi's wife.*
Why didn't mamma marry early?
Sarah
Hold your tongue, or I'll slap you black and
blue! Just listen to what she's picked up in a
single night!
RiFKELE, misunderstanding.
Yes, I know everything now.
Yekel
Let her alone! {With nervous haste.) I
want to ask her only one thing. One thing
only. Tell me the truth. . . I'll not beat you.
I'U not lay a finger upon you. You're not to
blame. (Almost unahle to speak.) Tell me
frankly, the — the — whole truth tell me. . .
The truth. . .
Sarah
What truth shall she tell you? What do you
want of the girl?
Yekel
I'm not asking you. . . {Arises ^ seizing Rif-
kele hy the hand.) Don't feel ashamed before
me. I'm your father. You may tell me every-
thing. . . Speak openly. . . Are you — are you
still as pure as when you left this house? Are
* Colloquial expression signifying extreme piety.
[93]
THE GOD OF VENGEANCE
you still a virtuous Jewish daughter? (Shout-
ing.) Yes, — a virtuous Jewish daughter?
Sarah, tearing Bifkele out of YekeVs grasp.
What do you want of the girl? The child is
innocent of all evil. Let her go.
Yekel, holding Bifkele firmly, and trying to
look straight into her eyes.
Just tell me the truth. I'll believe you. Look
me straight in the face. Are you still an inno-
cent Jewish child? Look me in the face!
Straight in the eye! [Rifkele, despite YekeVs
efforts y hides her face in the shawl.)
Sarah
Why don 't you take that shawl off your head ?
You don't need it indoors. [Removes Rifkele's
shaivl. Rifkele resists, hut losing her grasp
upon the shawl she hides her face in her gown.)
Yekel, loudly.
Tell me now. Don't be ashamed. I'll do you
no harm. {Holding her firmly hy the hand and
looking her directly in the eye.) Are you still
a chaste Jewish daughter? — Tell me, at once!
Rifkele, trying to hide her face.
I don't know. . .
Yekel, at the top of his voice.
You don't know! You don't know! Then
who does know? What do you mean, — you
[94]
THE GOD OF VENGEANCE
''don't know?" The truth, now! Are you
still —
RiFKELE, tearing herself from Yekel.
It was all right for mamma, wasn't it? And
it was all right for you, wasn't it? I know all
about it! . . . {Hiding her face in her hands.)
Beat me ! Beat me ! Go on !
Sarah
Rushes over to Rifkele with arms upraised^
ready to strike her. Yekel casts Sarah aside with
a single hloiu, and falls into a chair, pale and
hreathing hard. Rifkele sinks to the floor, weep-
ing hysterically. A long pause. Sarah, plainly
upset, paces aimlessly about the room. After a
while she takes a hroom and hegins to sweep the
room; her silence betrays a feeling of guilt. . .
She then approaches Rifkele, lifts her by the
hand and leads her off stage into the room. Yek^l
is rooted to his place. Sarah returns, runs over
to Yekel, grasps his hand and entreats him.
Yekel, consider what you are doing, for God's
sake ! Who need know anything ? (Pause.) Calm
yourself. (Pause.) Rifkele will get married and
we'll live to have plenty of happiness from her.
(Yekel is silent.) Put on your coat, — they'll
soon be here. (Abruptly.) Who need know any-
thing at all alDout it?
Yekel
Silent. Stares vacantly into space.
[95]
THE GOD OF VENGEANCE
Sarah, brings in YekeVs coat and hat and
places them upon him. He offers no resistance.
What a misfortune! What a misfortune!
Who could have foreseen such a thing? {She
straightens YekeVs coat, then puts the room in
order. Runs into Rifkele's room. She is heard
hiding something there, and soon returns.) I'll
have a reckoning with you later. {Putting the
finishing touches to the room.) Terrible days,
these. Bring up children with so much care
and anxiety, and. . . Ah ! {Footsteps are heard
outside. Sarah runs over to Yekel and pulls his
sleeve.) They're here! For the love of God,
Yekel, remember ! Everything can be fixed yet.
{Enter Reh Ali arid a stranger. Sarah hastily
thrusts her hair under her wig and goes to the
door to ivelcome the visitors.)
Reb Ali
Good morning.
Sarah
Good morning. Good year. Welcome.
{Somewhat confused, she places chairs before
the guests and motions them to be seated.)
Reb Ali, in a cheerful mood.
Well, and where is the bride's father? {Look-
ing about for Yekel.)
Sarah, smiling, to her husband.
Why don't you show yourself, Yekel? {She
[96]
THE GOD OF VENGEANCE
thricsts a chair taivard him. The visitors ex-
press their greetings and take their seats.)
Reb Ali, gesticulating.
Let's get right down to business. (To the
stranger, pointing to Tekel.) This gentleman
wishes to unite families with you. He has an
excellent daughter and wants as her husband a
scholar well versed in Rabbinical lore. He'll
support the couple for life.
The Stranger
That sounds inviting.
Yekel, arising.
Yes, my friend. A virtuous Jewish daughter
... a model child. . .
Reb Ali, to the stranger.
He's ready to settle upon her a dowry of
five hundred roubles cash at the time of the en-
gagement. . . And he'll support the couple for
life. He will treat your son as his own child.
The Stranger
Well, — there 's little need of my boosting my
goods. With two years more of study, he'll
have the whole learning at his finger tips.
Reb Ali
Naturally, naturally. This gentleman will
guard him like the apple of his eye. He'll
have the best of everything here. He'll be able
[97]
THE GOD OF VENGEANCE
to sit and study the Holy Law day and night,
to his heart's content.
Yekel, indicating RifkeWs room.
Yes, he '11 sit inside there and study the sacred
books. . . I have a virtuous Jewish daughter.
{Goes into the room and drags Rifkele out hy
force. She is only half dressed, her hair in dis-
order. He points to her. ) Your son will marry
a virtuous Jewish daughter, I say. She will
bear him pure, Jewish children. . . even as all
pious daughters. {To Sarah.) Isn't that so?
{Laughing wildly , to the stranger.) Yes, in-
deed, my friend, — she'll make a pure, pious
little mate. My wife will lead her under the
wedding canopy. . . Down into the brothel !
Down below! {Pointing to the cellar.) Down
into the brothel! {Dragging Rifkele hy her
hair to the door.) Down into the brothel with
you ! Down !
Sarah, rushing madly over to Yekel.
Good God! He 's gone stark mad ! {She tries
to tear Rifkele away from Yekel; he thrusts
Sarah aside and drags his daughter out hy the
hair.)
Yekel
Down into the brothel with you! {He leaves
together with Rifkele, whose cries are heard
from outside.)
[98]
THE GOD OF VENGEANCE
The Stranger, ivith amazement and fright.
What is this? (Bel) Ali beckons to him, pulls
him by the sleeve and points to the door. The
stranger stands motionless in his astonishment.
Reb Ali draws him to the door. They leave.
Pause.)
Yekel, enters, dragging back with him Reb Ali,
whom he has met on the stairs.
Take the Holy Scroll along with you ! I don 't
need it any more !
CURTAIN
[99]
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